5BPRLIN COLLEGE ART LIBRARY

ALLEN MEMORIAL ART MUSEUM BULLETIN OBERLIN COLLEGE, XL1I, 2, 1987-88

ALLEN MEMORIAL ART MUSEUM BULLETIN

VOLUME XLII, NUMBER 2, 1987-88

Contents

J.-B. Oudry: Partridge and Young Rabbit Hung by the Feet by Hal Opperman ------47

A New Attribution for an Italian Drawing by Susan E. Wegner ------61

Acquisitions: 1982-87 ------67

Chloe Hamilton Young (1927-1985)/Memorial Minute 95

Chloe Hamilton Young Bibliography, Allen Memorial

Art Museum Bulletin ------97

Notes ------97

Friends of the Museum ------103

Oberlin Friends of Art ------106

Museum Staff, Hours, Publications ...... \\2

Published twice a year by the Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio. $10.00 a year, this issue $5.00; mailed free to members of the Oberlin Friends of Art. Back issues available from the Museum. Indexed in The Art Index and abstracted by R1LA (International Repertory of the Literature of Art) and ARTbibltographies. Reproduced on University Microfilms, Ann Arbor, Mich. Printed by Press of the Times, Oberlin, Ohio.

COVER: Oudry, J.-B. Partridge and Young Rabbit Hung by the Feet With the support of the Institute of Museum Services, a Federal agency.

(Copyright © Oberlin College, 1987) ISSN: 0002-5739 The Museum's Bulletin Resumes Publication

After a temporary suspension of two years due to the numerous staff changes described elsewhere in this issue, the Allen Memorial Art Museum Bulletin is resuming twice- yearly publication with this issue. This number completes volume 42 and our next issue, to appear in the spring of 1988, will be volume 43, number 1.

1. Jean-Baptiste Oudry, A Young Rabbit and Partridge Hung by the Feet, 1751, oil on canvas (82.47)

46 J.-B. Oudry's Partridge and Young Rabbit Hung by the Feet

For Francis H. Dotvley on his retirement* Just six years ago the Allen Memorial Art The history of the work is quickly traced— Museum completed the major purchase of a rare unfortunately so, because it is obscure. It is signed and exceptionally fine trompe-l'oeil still-life and dated 1751.4 In the livret (cursory printed painting by Jean-Baptiste Oudry (1686-1755) catalogue) of the 1751 Salon of the Academie (fig. I).1 Thanks to the generosity of the Mu­ royale the following two pictures are laconically seum, the picture was lent practically at once to described: the Oudry exhibition that opened in Paris in 22. A small picture representing a jay and an oriole October 1982, where it was much admired.2 The hung by the feet. Oberlin painting hung in the Grand Palais on a 23. Another small picture of a young rabbit and a detached panel to one side and a bit past the grey partridge hung by the feet.'' middle of the long, curving gallery devoted to Nothing more; no dimensions, no names of the artist's last period, his most prolific. Al­ owners, no absolute indication that the two were though quite simple in conception and relatively in fact a pair, though it is all but certain that this small, it held its own superbly among some of was the case. And, they were likely for sale, since Oudry's largest and boldest productions. The Oudry proudly displayed the names of his collec­ picture was absent, however, from the reduced tors in the livrets whenever possible. They then and somewhat different version of the show that disappear from public record for more than a re-materialized at the last minute and was seen century, in fact for nearly two. The picture now at the Kimbell Art Museum in Fort Worth and in Oberlin was lent to an exhibition in Paris in the Nelson-Atkins Museum of Art in Kansas 1932 by the distinguished dealer Paul Cailleux, a City in 1983. A few words and a tiny reproduc­ specialist in the French eighteenth century (but tion in the English-language catalogue do not do the presumed companion-piece has yet to reap­ justice to the importance of this acquisition.3 pear).6 The Galerie Cailleux has no record of The present article repeats the information of when and to whom the picture was sold. Thirty the French catalogue entry but in a much ex­ years later, in 1962, it was lent to another exhibi­ panded context, with the intention of reaching tion from the collection of Mr. and Mrs. Andre the American museum public who otherwise Meyer.7 And in 1980 it was sold at public auction might have overlooked this beautiful and signifi­ with the Andre Meyer collection in New York, cant work. from which it passed to a dealer and then to Oberlin a few months later.8 The two pictures *My work on Oudry began twenty-five years ago at the are thus cited in the classic catalogue raisonne of University of Chicago, with a paper on his still-life pictures Jean Locquin (1912) only from the Salon refer­ prepared for Frank Dowley, to whom this article is affectionately dedicated. ences; Jean Vergnet-Ruiz in his catalogue of

47 2. Jean-Baptiste Oudry, Round Still Life with a Rabbit and a Partridge, 1739, oil on canvas, Art Collections of Sweden, Drottningholm Castle

1930 does not mention them at all; and in my game that form a characteristic group of Oudry's own catalogue of 1972 (published in 1977) I was last period, from 1739 when he entered the pro­ able to locate the one in the Meyer collection and fessorial ranks of the Academie, until he ceased to state that the other was lost, but without painting due to illness in 1754, some months giving any new facts or interpretation. The before his death. They were instantly and un­ Oberlin painting was reproduced for the first equivocally acclaimed, insofar as we can tell, as time in the 1962 exhibition catalogue but went soon as they were painted (most were shown in practically unnoticed. It is fair to say that it truly a Salon and frequently attracted critical attention became familiar, for the first time since 1751, at there). Then they were forgotten—or, perhaps the Grand Palais in 1982. it is more accurate in some cases to say, they were This fortune critique is repeated for the nu­ only known in the limited circles of their owners merous similar trompe-l'oeil still lifes of dead who apparently treasured them in private and

48 with the greatest reticence. The first of these Antlers (figs. 3 and 4) of stags hunted by Louis masterpieces of illusion, the Round Still Life XV, who ordered the artist to come paint them with a Rabbit and Partridge (fig. 2) of 1739, on the spot, has a similar history. By the latter belonged to Queen Lovisa Ulrika of Sweden.9 decades of the eighteenth century these works, Already by 1760—perhaps because it had been wxecuted from 1741 to 1752, were in storage. installed above a high mirror so that its signa­ Through the Revolution and on into the next ture was difficult to see—the inventories of century they were shunted from storeroom to Drottningholm Castle attributed it to Chardin, royal hunting lodge to storeroom again and fi­ and it was not until 1958 that it was taken out of nally to Fontainebleau where, by the reign of the panelling for exhibition, photography, and Louis Philippe, they found a home in the deco­ proper publication. Since then its status as a rative panelling of a little-known suite of apart­ masterpiece has been unquestioned. The remark­ ments and passageways which in more recent able series of six canvases depicting Deformed times has been closed all but permanently to the public. Georges de Lastic brought them forward

Jean-Baptiste Oudry, Deformed Stag Antlers against a Jean-Baptiste Oudry, Deformed Stag Antlers against a Background of Boards, 1741, oil on canvas, Musee Stone Wall, 1742, oil on canvas, Musee National du National du Chateau de Fontainebleau Chateau de Fontainebleau

49 being aware of its present whereabouts; it was shown to the public for the first time in Fort Worth and Kansas City five years ago. '3 The Hare and Leg of Mutton (fig. 6) of 1742 in the Cleveland Museum of Art14 is today a very familiar work, and deservedly so; its daringly severe composition, so well suited to the keen and unemotional observation of its subject, and its perfect state of conservation, make it one of Oudry's most successful works in the genre. And yet we forget that it, too, was known only from a terse description in the Salon livret the year it was painted, until it was quietly shown in Le Cabinet de lAmateur at the Orangerie des

Jean-Baptiste Oudry, Still Life of a Hare and a Shel­ drake, 1740, oil on canvas, Privarte Collection, Houston in an article of 1967,10 and Pierre Rosenberg gave one of them a place of prominence in his Age of Louis XV exhibition of 1975-76.n Fi­ nally, two of the six were cleaned and brought to the Grand Palais in 1982, while a third was well presented at Fontainebleau at the same time.12 They were much talked about in the press. Once more they elicited a critical reaction very similar to that of their debut in Oudry's day. Pictures of this sort in the private domain have been even slower to emerge. For example, there is the Still Life of a Hare and a Sheldrake (fig. 5) which reappeared only in 1981. Painted in 1740, it was not shown in a Salon nor was it 6. Jean-Baptiste Oudry, Still Life of a Hare and a Leg of cited in any of the Oudry literature until I dis­ Mutton, 1742, oil on canvas, Cleveland Museum of Art covered it in the Merval sale of 1768 without (Purchase, John L. Severance Fund)

50 Tuileries in 1956, and subsequently sold at auc­ uses rabbits and pheasants, roebucks and bit­ tion. It has only been in Cleveland for nineteen terns, even the heads of wild boars, as still-life years. There are a few more such pictures in elements in earlier compositions that do not private hands that have never been exhibited resemble these at all.16 Nor does purpose or since the Salons;15 others still are lost, though destination seem to have anything to do with it. not irretrievably if the experiences just de­ Whereas some of these pictures were almost scribed may serve as a guide (the pendant of the certainly done for themselves and only for them­ Oberlin picture will, in all probability, come to selves, as easel paintings or collectors' pieces light again some day). (tableaux de chevalet or de cabinet), others were What makes these pictures and numerous conceived as "decorations," that is, to form part others like them form a coherent and consistent of this or that interior decor. A tiny copper plate group? Let me begin by saying that subject mat­ (19 x 15 cm.) such as the Golden Plover (fig.7) of ter is not a determining factor, even though dead 1750, shown in the Salon that year and after­ game is the central theme in all of them. Oudry wards in the famous collection of Blondel d'Azin- court, can only have been an easel painting,17 and so, certainly, was the Oberlin painting. And yet these works, though smaller, do not other­ wise differ in any essential way from the painting in Cleveland which is only about three- fourths again as high (98 cm.) as the one in Oberlin; all can be called "small." The Cleveland painting, however, was commissioned for the dining-room of a private individual. It brings in a domestic animal in a culinary context (mutton), while the Oberlin painting depicts only wild game—but this difference is inconsequential. Another certain "decoration" is the picture (fig. 8) done for the dining-room of the bookseller Jombert in 1742.18 This is much larger than the Oberlin painting (two and a half times as high, or 142 cm.), and it extends the culinary refer­ ences with bottles, bread, and cheese; but the suspended animals are game, a hare and a wild duck. The same observation applies to the splen­ did picture (fig. 9) in San Francisco, dated 1743, which was certainly a buffet (decorative com­ position above a sideboard) even though its eighteenth-century history is not known. '9 Here, too, the animals are wild game (hare, pheasant, red-legged partridge, duck), and a surface nearly twice as great as that of fig. 8 7. Jean-Baptiste Oudry, Golden Plover Hung by the Foot, allows Oudry to elaborate his menu even more, 1750, oil on copper, Private Collection, Paris

51 able to accept the obvious solution, namely that the "point" of the Oberlin picture and its close relatives in Oudry's oeuvre is illusion, reduced to its simplest, most direct form with few or no competing purposes (symbolism, for example, is essentially absent). In a way, illusionism can be seen as one of the central problems of Oudry's art as it develops from his student days on to his final works. The similarity (allowing for the mastery and sophistication of long experience) between the very early pictures showing dead birds against backgrounds of light grey walls, and the late trompe-l'oeil works of the kind under discussion, has often been commented upon.20 Why are there no such works between 1713 and 1739? The gap in time at first eludes easy explanation but becomes more understand­ able in light of Oudry's preoccupations with establishing himself with the fashionable orna­ mental effects of the genre pittoresque or "ro­ coco" style that dominate his production during a quarter century. Equally familiar are Oudry's charming accounts of still-life exercises he per­ formed in his youth for his master, Nicolas de Largillierre (1656-1746), concerning the study of the colors of objects relative to one another rather than in isolation, and particularly in rela­ tion to the background against which they are to be seen (if the background of the picture is to be a grey wall, place a canvas painted in grey behind 8. Jean-Baptiste Oudry, Still Life of a Hare, a Sheldrake, 21 Bottles, Bread, and Cheese, exhibited Salon of 1742, oil the subject as you paint it). I have speculated on canvas, Private Collection, Neuilly-sur-Seine that the reason for Oudry's return to this type of picture in his late period is bound up with his rise to the professorial ranks of the Academie, with a ham pate, cardoons, fruit, and wine. Dis­ the fulfillment in a sense of a perceived obliga­ cussion of this group of pictures should demon­ tion to pass along, patriarchically, what he had strate conclusively that selection of the species similarly received so many years before. Practice of animal, wild or domestic, has nothing to do becomes principle, in the best tradition of aca­ with a picture's purpose, and also that neither demic propaganda. Such was also, quite clearly, subject nor purpose are relevant for our task, the motivation for Oudry's two academic dis­ namely to delimit the grouping to which the courses delivered in 1749 and 1752, which are Oberlin picture belongs. bound up with transmission of specific recipes Without searching further, it seems desir­

52 Closely related to these observations in his lectures are two paintings of similar date—a group of dead sea gulls hanging against a white stone wall (fig. 10), dated 1750, and the cele­ brated White Duck (fig. 11) of 1753.23 They are obviously "illustrations," or extentions to the public, of Oudry's academic points about art and illusion, and were understood and praised as such by the Salon critics. Let us note in passing that both of these pictures shared the fate dis­ cussed above, of instant fame followed by total oblivion until a relatively recent and partial re- emergence: the White Duck hidden away for nearly two centuries until its spectacular recep­ tion at the exhibition of Chefs-d'oeuvre de Tart francais in 1937, and the Sea Gulls that resur-

• -~-S--: •""-— ••—II »W I " *

Jean-Baptiste Oudry, Still Life with Dead Game, a Pate, Bottles, Fruits, and Vegetables, 1743, oil on canvas, Fine Arts Museums of San Francisco (Mildred Anna Wil­ liams Collection) for the imitation of nature in painting. In these he often addresses questions of illusion, recom­ mending still-life exercises as studio demonstra­ tions. The most familiar examples are his two lessons in white—a bunch of white flowers of different species, and a collection of white ob­ jects on a white background—both intended to inculcate the habit of observing all from nature, where whiteness in both hue and value is not 10. Jean-Baptiste Oudry, Still Life of Sea Gulls, 1750, oil absolute, but obtained relatively through on canvas, whereabouts unknown (Schropp sale, 22 comparison. Nice, 27 November 1933)

53 11. Jean-Baptiste Oudry, "The White Duck," 1753, oil on canvas, Marquis of Chol- mondeley, Houghton Hall, Norfolk

5( ground, and the approval of all—connoisseurs and faced briefly at a sale in 1933 but has not been 24 heard of since. The White Duck is one of those others—was in agreement for this unique piece. rare works of art that succeed through an intui­ Successful achievement of a sense of relief—the tive formal Tightness coinciding almost miracu­ projection of the objects illusionistically in front lously with perfectly fulfilled artistic intent, a of the picture plane—was sufficient grounds for homily effectively persuading and transcending praise in this critic's view. Another who saw the to high art. The White Duck is not a dining picture in 1751 went further, still speaking of room picture—it was painted solely for itself— illusion but this time in terms of the successful but it is not "about" wild nature. tactile imitation of the objects: Pictures done in and for themselves (to be The first picture that struck me is by Oudry; it repre­ looked at, period) and those done as decoration sents a young rabbit and a partridge hung by the feet. The partridge is so fluffy, and so natural, that I would (to be looked at in such-and-such a context), have liked to pluck out its feathers to see whether the lead to a most informative insight. To under­ skin was as soft as its covering. The rabbit hair feels stand Oudry's pictures like these correctly, we marvelously resilient, and the total effect of the piece must be aware that he is attempting to embody is better than anything in its genre the Italian masters 25 within the substance he had mastered and be­ have produced. come known for over the decades—the specialty This statement stands alone, unqualified, as con­ of animal painting, le talent du poil et de la veying the author's highest praise. But the most plume as it was called—a statement of princi­ telling comment of all comes from a contempo­ ple about human perception. Whether they are rary who was both a fine painter and a keen in fact decorations, as some of them are, is irrel­ critic, Charles-Antoine Coypel: evant, since their purpose is anti-decorative to A most astonishing thing is the art of Monsieur an almost scientific fault. Within the linguistic Oudry in his pictures with white backgrounds. He and aesthetic limitations of Oudry's day these demonstrates that local colors achieve sufficient con­ trast among themselves without the aid of the back­ are "pure" statements, conceptualizations about ground. But who other than he may claim success in art and illusion. separating and varying hues as he does without alter­ The Oberlin picture must be seen in the ing the color of the objects?26 light of this same rhetorical/aesthetic process. In this observation, upon the same premise of It is not merely a question of art and illusion, as imitation of nature as the other critics used, we have stated, but of something much more Coypel makes the leap from illusion to art. The extreme, radical to the point, almost, of heresy, picture is a demonstration of the principle of namely, of art as illusion. There are only a few the interaction of colors in the creation of per­ Salon commentaries about this particular paint­ ceivable form. ing, but they all lend support to this argument. The Oberlin picture is a difficult picture, One critic, writing in a brochure concerning the even when we see it in the context I have just next Salon in 1753 and with a somewhat hazy tried to recreate. The workings of color are memory, evoked the picture now in Oberlin in most subtle. Oudry creates a range of distinct terms of pure trompe-l'oeil, recalling hues, juxtaposed rather than amalgamated, an amazing display of observation and invention in the scale of greys and browns tending toward the "white-ground" that Oudry exhibited two years ago, on which there were partridges. Those partridges a statement in blue and orange—and yet he is seemed at least half a foot distant from the back­ able to do this, in Coypel's terms, "without alter-

55 ing the color of the objects." That is, the rabbit seek to place this modest painting in a context and the partridge appear true to life, not orange of ultimate significance to the history of later and blue at all. This he accomplishes without the art, nevertheless it does have a noticeable role help of a colored ground where the colors of the within the subplot of painting in its place and object might be reinforced by resonance or — century. To begin with, Oudry's oeuvre has a more frequently—by facile contrast. In fact, this bewildering variety of attitudes and genres and (and its lost pendant) must have been even manners that stumped so many critics at among his most extreme exercises in true the recent exhibition. Is there any significance in "white-ground" painting. With the possible ex­ the presence of a small, very special group of ception of the Sea Gulls of 1750, which I have exquisitely wrought cabinet pieces like this never seen, his earlier trompe-l'oeil still lifes among such contrasts as enormous machines of with clear and neutral backgrounds are grey or the hunt, filled with emotion, and philosophical yellowish in tone; the Drottningholm roundel of pieces of dogs contemplatively guarding dead 1739 comes close to white, but seems warm game; of proto-Rousseauian paeans to the coun­ compared to the stark calcimine whiteness of try life (La Ferme, Louvre) and the dozens of the Oberlin painting. Not only has Oudry introspective drawings of the abandoned gar­ chosen to do things "the hard way" in terms of dens of Arcueil; of magnificent showpieces such color, but also in terms of composition. There as the Dead Crane and intimate miniatures on are no marginal or external reference points, copper plates? What, if anything, was Oudry that is, no framing devices, stated or implied. trying to prove? Does it help our understand­ Oudry's trompe-l'oeil pictures usually supply ing to realize that his art is, in a way, a mirror these, either through angular oppositions and of the art of his day, a period characterized pre­ perpendiculars within the object group itself as cisely by a nearly inexhaustible variety of exper­ in the painting in Cleveland—an implicit rein­ imentation, the absence of fixed and narrow forcement of the horizontal and vertical edges of standards of taste? The art of the time of Louis the canvas, an implied enclosure—or by internal XV results from the abandonment of an estab­ responding curves from element to element, as lished set of guidelines and strictures. In the in the White Duck—creating a contrasting place of a well-regulated artistic world order, rhythm to the rectilinear geometry of the frame. this new freedom brought about a multiplicity Finding just the right frame for Oberlin's new of responses so complex and everchanging that acquisition must be a tricky operation because it historians of later generations have tended, in is composed without the aid of these common order to make easy sense of it, to an unfortunate devices. Or would it be displayed to best advan­ simplification amounting to a gross distortion tage with no frame at all? One insurmountable of both the spirit and the substance of the difficulty is not a worry for the picture, though; period. Recent efforts to counteract this deeply- it is in an excellent state of conservation; any rooted habit have yet to take effect outside the blemish or alteration would have destroyed this restricted world of specialists.27 But if we accept perfect lesson in the efficacy of local color alone. this spirit of searching and of change, and if we At bottom, the history of art operates do not equate inquiry and an openness to the through the cogent analysis of continuities and new with confusion and misdirection, then we discontinuities, and while it would be forcing ought to be able to appreciate Oudry's neutral- the matter beyond its intrinsic importance to ground, trompe-l'oeil pictures as the manifesta-

56 tion of a very particular, single-minded intent Simeon Chardin (1699-1779) and to what — a demonstration of principle, as discussed seems to have been a famous confrontation in above. Not all of Oudry's other diverse ventures its time, but one whose details are impossible to are so concentrated in purpose; in fact, few of reconstruct. In 1732 Chardin exhibited a bas- them are; and they stand out all the more relief after an original by the sculptor Duques- among the far greater variety of artistic efforts noy at the "Exposition de la Jeunesse"; he of his contemporaries. showed another (the same one or a replica?) at The Oberlin painting belongs to the frank­ the Salon of 1737;30 and in the Salon of 1738 est and least adulterated group of "artistic appeared Oudry's bas-relief of 1730, after a dif­ trompe-l'oeil" still lifes of the century (to bor­ ferent work of Duquesnoy. Chardin had many row a felicitous term from Charles Sterling).28 advocates, none more articulate than his close The immediate roots of this type are in the friend Charles-Nicolas Cochin (1715-90), who Netherlandish tradition and may be found in presented the bas-reliefs of the two artists as if Oudry's studies with Largillierre as well as in in a kind of public competition: his emulation of Francois Desportes (1661- 1743), both of whom were Flemish-trained. Yet One recalls readily two imitated bas-reliefs, one by Chardin and the other by Oudry, a most able man — curiously—neither of these older masters who painted with facility. The two pictures were chose to paint a series of true trompe-l'oeil still equally successful when considered as illusion: one lifes. The closest they come with any frequency was obliged to touch both of them to be certain that is in the ledge-and-niche type with hanging they were paintings. However, artists and persons of taste would not maintain that the two works were game of which there are several examples by equal in any way. In effect Chardin's picture was as far Largillierre in his early maturity and a much above that of Oudry as the latter was itself above larger number by Desportes across his long mediocrity. What was the difference between the two career. However, these are not pure trompe- if not in execution—which can be called magical, spir­ l'oeil since the objects exist within the illusion- ited, ardent—and the inimitable artistry so perfectly characteristic of the works of Chardin?" istic space of the painting, that is, behind the front of the ledge rather than before it. There is Did such a face-off occur? Perhaps; but this is the well-known Bunches of Grapes by Largil­ the only known occasion in which these two lierre from 1677 (Paris, Institut neerlandais) — artists—alike in their specialties, but so differ­ a youthful didactic exercise—but nothing like it ent in temperament—would have directly later. Desportes does some true trompe-l'oeil matched talents. Usually, as Pierre Rosenberg subjects of a very special type, the feigned bas- has justly observed, they knew how to stay out relief; these are poorly known today except for of one another's way.32 Cochin's observations the fairly frequent occurrence of bas-reliefs about the uniqueness in its day of Chardin's amidst animals, drapery, flowers, musical instru­ technique—and to some extent its novelty— ments, and other motifs in some of his late, are repeated by many other critics. But most do elaborate decorative still lifes. Oudry experi­ not use this as the occasion to denigrate the mented with this sub-genre, and one of his two more traditional approach taken by Oudry. documented bas-reliefs, dated 1730, survives.29 What most critics note, whether in the rare Technically, his approach is not fundamentally direct comparisons or in discussing the two art­ different from that of Desportes. ists separately, is only that their approaches The subject of bas-reliefs leads to Jean- differ, not that one is more valid than the

57 other. 33 The majority opinion is simply that his "imitations" out of the reach of this criterion. both artists were concerned with illusion but Chardin did so by rejecting it, while Oudry con­ that Oudry maintained an appearance of the centrated or distilled it into a quasi-scientific separation of colors in the objects, whereas demonstration of the laws of color. There is thus Chardin sought an appearance of the blending in the Oberlin picture and its kin a kind of of colors in the painting. By diminishing Oudry amorality (freedom from the need to judge good to the status of a practitioner of "mere" illu­ or bad) that is, in my belief, unique in its time. sion, Cochin concludes that Chardin alone has These pictures obtain a level of seriousness, found the right ("artistic") way. Thus he firmly when seen in this context, that is quite revealing. subscribes to the pre-Romantic notion of genius Such careful description, so painstaking and as subjectivity. exact, is not the sign of a lack of imagination or But, Oudry is just as "modern" in his own artistic insight that some critics would like to way, through the detachment and the objectiv­ see, but rather evidence of a surprising sort of ity of his approach. Let us recall that our artistic probity. The surprise comes only in present-day notion of aesthetics, of the possibil­ relation to our own artistic prejudices, however; ity of a "pure" judgment of art, comes in only we have been taught not to expect it in Oudry with Kant at the very end of the eighteenth and the Age of the Rococo. It is appropriate to century. In Oudry's day the criterion of successful the Age of David, whose coloristic classicism imitation was still applied, and Oudry was trying can, in many ways, be seen as the fulfillment of just as much as Chardin, but differently, to take what Oudry here began.

Hal Opperman University of Washington

Notes

1 Oil on canvas, 55.8 x 46.5 cm. (22 x 18-1/4 in.). Acces­ 5 Explication des peintures, sculptures ... de Messieurs de sion number 82.47. Acquired in 1982 from the Mrs. F. F. VAcademie royale ... 1751, as cited by Opperman, Jean- Prentiss and Special Acquisitions Funds. Jean Locquin, Baptiste Oudry (1977), I, 202. Catalogue raisonne de I'oeuvre de Jean-Baptiste Oudry 6 Exposition retrospective du decor de la table et de la peintre du roi (1686-1755), Archives de I'Art francais, salle a manger, Paris, Salon des Arts menagers, Grand nouv. per., VI (1912), i-viii, 1-209 (Paris: H. Champion, Palais, 1932, no. 175. 1912), no. 91; Hal N. Opperman, Jean-Baptiste Oudry, 7 Exhibition of the Collection of Mr. and Mrs. Andre Outstanding Dissertations in the Fine Arts (2 vols.; Meyer, Washington, National Gallery of Art, 1962, no. 13 New York and London: Garland, 1977), I, pp. 202, 558, (repr). cat. no. P522. 8 Andre Meyer sale, New York, Sotheby, 22 October 1980, 2 J.-B. Oudry 1686-1755, Paris, Galeries nationales du no. 10. Grand Palais, 1 October 1982-3 January 1983; catalogue 9 J.-B. Oudry, Paris exhibition catalogue 1982-83, no. 148, by Hal Opperman, no. 151 (repr.). repr. in color p. 34. 3 Hal Opperman, J.-B. Oudry 1686-1755 (Fort Worth: 10 "Louis XV, ses trophees de chasse peints par Oudry et Kimbell Art Museum, 1983), repr. fig. 44. Bachelier," Connaissance des Arts, no. 188 (October 4 This is Oudry's typical signature for paintings, in the 1967), pp. 110-15. This article was published from the lower right: / B. Oudry / 1751, with no period after the author's manuscript in greatly altered form, without his first initial. name and without his approval.

58 11 The Age of Louis XV French Painting 1710 (sic! read nos. P521 (Gulls) and P524 (White Duck);ci.].-B. Oudry, 1715)-1774 (Toledo: The Toledo Museum of Art; Paris exhibition catalogue 1982-83, no. 152, and Opper­ Chicago: The Art Institute of Chicago; Ottawa: The man 1983 (Fort Worth-Kansas City catalogue), no. 79. National Gallery of Canada, 1975-76), no. 76, repr. plate 24 [Pierre Esteve], Lettre a un ami sur /'exposition des tab­ 59 and colorplate VIII. Here reproduced fig. 3. leaux fade dans le grand sallon du Louvre, le 25. aout 12 All six are today at Fontainebleau; their history is sum­ 1753 (no place or date), pp. 8-11. Even though it has a marized \n].-B. Oudry, Paris exhibition catalogue 1982- rabbit and only one partridge, the picture in Oberlin is 83, no. 149, and in Opperman 1983 (Fort Worth-Kansas the only one exhibited in the Salon of 1751 to which City catalogue), no. 76. The two shown in both the Esteve could be referring. French and the American exhibitions are the Antlers 25 Gautier d'Agoty, "Sur les tableaux exposes dans le salon here reproduced fig. 3 and the Head of a Stag of 1750 du Louvre, au moisd'aout 1751, published in his Observa­ (Paris catalogue no. 150; Fort Worth-Kansas City cata­ tions sur la peinture et sur les tableaux anciens et logue no. 78). The picture here reproduced fig. 4 was modernes, annee 1753, vol. I, p. 62. exhibited at Fontainebleau, whose hunting apartments 26 [Charles-Antoine Coypel], Jugemens sur les principaux were open to the public during the Oudry exhibition at ouvrages exposes au Louvre le 27 aout 1751 (Amsterdam, the Grand Palais. 1751), pp. 22-23. 13 Opperman 1983 (Fort Worth-Kansas City catalogue), 27 The most noteworthy attempts at attitudinal reform ad­ no. 75 (repr. in color p. 22). dress both the breadth and the integrity of the period: 11 Ibid., no. 77 (repr.), which see for other references. Pierre Rosenberg's Age of Louis XV exhibition of 1975- " For example, figures 7 and 8 of the present article. 76, cited in note 11 above, and Philip Conisbee, Painting 16 Any of the still lifes of dead game of the 1720s could be in Eighteenth-Century France (Ithaca: Cornell Univer­ taken as an example of the complicated, ornamental sity Press, 1981). arrangements Oudry favored then: see Opperman, Jean- 28 Charles Sterling, Still Life Painting from Antiquity to the Baptiste Oudry (1977), II, figs. 85,99,406. Twentieth Century, second revised English edition (New 17 Ibid., I, p. 569, no. P554 (Salon), and p. 574, nos. P575- York: Harper & Row, 1981), pp. 152-53. 576 (Blondel d'Azincourt). J.-B. Oudry, Paris exhibition 29 Edward Speelman Limited, London. Canvas, 50 x 108 catalogue 1982-83, p. 267, discussed under no. 151, repr. cm. Opperman 1983 (Fort Worth-Kansas City cata­ fig. 151a. logue), no. 46 (repr.). 18 Opperman, Jean-Baptiste Oudry (1977), I, p. 553, no. ,0 On the problem of versions (imitating both bronze and P510 with further citations; repr. in Michel and Fabrice plaster reliefs), see Pierre Rosenberg, Chardin, catalogue Fare, La Vie silencieuse en France, la Nature morte au of the exhibition, Paris, Grand Palais, 1979, nos. 30, 33. XVIII' siecle (Fribourg: Office du Livre, and Paris: 51 The source of this competition—cited by the Goncourts Societe franchise du Livre, 1976), p. 127, fig. 201, and also —escaped me until recently, and I went so far as to doubt in Opperman 1983 (Fort Worth-Kansas City catalogue), its existence (Opperman, Jean-Baptiste Oudry, 1977, I, p. 76, fig. 45. p. 548, under no. P497). Nor was it known to Rosenberg 19 Opperman, Jean-Baptiste Oudry (1977), I, pp. 553-54, (1979, p. 42). Michel and Fabrice Fare (1976, p. 146) no. P511 with futher citations; reproduced in Fare and quote the source: Charles-Nicolas Cochin, Recueil de Fare 1976, p. 129, fig. 202. quelques pieces concernant les arts (Paris, 1771), which 20 See especially the little pictures of 1712 and 1713 in — they say—is a collection of essays first published in Agen and Marseille reproduced and discussed in J.-B. the Mercure de France. I cite the passage from Cochin as Oudry, Paris exhibition catalogue 1982-83, nos. 1-3. it is given by M. M. Fare. Rosenberg reproduces a sen­ 21 J.-B. Oudry, "Reflexions sur la maniere d'etudier la coul- tence from the Encyclopedic methodique (1787) which is eur en comparant les objets les uns avec les autres," read identical to one of Cochin's. At the moment I do not have to the Academie royale, 7 June 1749, and published from access to any of the eighteenth-century publications. the manuscript in the library of the Ecole des Beaux-Arts This question needs to be cleared up. by E. Piot, Cabinet de TAmateur et de t'Antiquaire, III, W Rosenberg 1979, pp. 42,50. 1844, pp. 38-39. 33 See, for example, the comparison by Garrigues de Fro- 22 Ibid., pp. 39,42-43. ment in 1753, reproduced in Opperman, Jean-Baptiste 23 Opperman, Jean-Baptiste Oudry (1977), pp. 557-60, Oudry, 1977, I, p. 210.

59 Wk^- • •;, ••

-

Here attributed to Rutilio Manetti, Female Figure Looking Up, Oberlin

60 A New Attribution for an Italian Drawing at Oberlin

In 1970, the Allen Memorial Art Museum stead of Vanni, one of Vanni's most illustrious received as a gift an early seventeenth-century followers, Rutilio Manetti (1571-1639). Italian drawing (fig. I).1 This small chalk sketch Our understanding of the artistic personality on grey-blue paper shows the face and upper of Rutilio Manetti has been greatly enhanced by body of a female figure. Her form is indicated the recent major exhibition of the artist's work with short strokes of black chalk accented with in Siena at the Palazzo Pubblico in 1978. Alessan- traces of white heightening. Smooth curved dro Bagnoli's thoroughly researched cat­ strokes outline the close-fitting bodice with alogue has provided a comprehensive view of scooped neckline and the puffed sleeves of the Manetti that greatly augments and advances the figure's garment. Quick, sharp slashes of line pioneering work done by Del Bravo and Brandi. 3 mark the spread fingers of her right hand which Still, Manetti, who worked in Siena for most of she raises in front of her, palm turned slightly his career, is not well known outside Italy, and out toward us. The implied upward motion of few of his paintings and drawings have found her hand is amplified by dark accents at her their way into North American collections.4 breastbone and throat, and is reinforced by her Manetti developed his first painting style upward-turning face. Suffused with an expres­ under the influence of two successful older con­ sion of awe, this face is more affecting than temporaries, Francesco Vanni and Ventura Sal- beautiful. It is wide, slightly blocky; the hair is a imbeni, with whose works Manetti's have often tangle of short strands which fly unkempt above been confused. 5 Fresco work in the Palazzo Pub­ the rounded ear. Full cheeks and a tiny, dimpled blico, Siena, and the standard Manetti executed chin are a bit at odds with the ecstatic expression. for San Giovannino in Pantaneto in 1600, clearly The mouth drops open just a bit, and the eyes are reveal his debts to these two half-brothers in full crescents marked by dark irises straining colorism —the soft, doll-like faces of women and upward toward some unseen light. The direction children, and the humble postures of saints in of this light, from above and to the right of the meditation.6 Manetti's frescoes of the Life of St. figure, is indicated by shadows, parallel slashes Roch, Siena, San Rocco, around 1605, show his of black chalk along chin, throat, bodice, and growing interest in the art of Florentine reform upraised palm, which also add to the figure's painters: Bernardo Poccetti, Lodovico Cigoli, bulk and solidity. Jacopo da Empoli and others. Yet another stylis­ The drawing has been very little studied tic shift occurred in Manetti's painting around since its arrival at Oberlin. Wolfgang Stechow 1613, when the first novelties of a dark Caravag- published it in his Catalogue of Drawings and gesque style appeared in his Decapitation of St. Watercolors in 1976, with a tentative attribution Paul, Rome, Galleria Nazionale d'Arte Antica. to the Sienese painter, Francesco Vanni (1563- During the next two decades, Manetti intensi­ 1610).2 It is the purpose of this note to advance a fied his own brand of Caravaggism with natural­ new attribution for the drawing, suggesting, in­ istic details—figures stamped with an earthy

61 2. Rutilio Manetti, Gamers and Musicians, c. 1626, oil on canvas, Galleria Chigi Saracini, under the authority of the Monti dei Paschi, Siena. Photo: Fot. Soprintendenza B.A.S—Siena physicality, fabrics' textures wrought with me­ style in Siena, providing large altarpieces for ticulous detail—and a deep, sometimes murky local churches and imaginative genre scenes and chiaroscuro. Even as he eagerly absorbed ele­ portraits for individuals. Even in his artistic ments of this dark style, he remained open to maturity, Manetti remained sensitive to a variety other influences from the art of Siena, Florence, of new stylistic currents. Works of the late 1620s and Bologna. While a trip to Rome may have and early 1630s record the impact of the French furnished Manetti with firsthand knowledge of Caravaggisti in Rome, Valentin de Boulogne and Caravaggio's works, much of his understanding Simon Vouet, and reminiscences of Guido Reni's of that master's style came secondhand through style appear in the late works. Manetti's last works by Italian and northern Caravaggisti, in­ years are dominated by mediocre studio produc­ cluding Orazio and Artemisia Gentileschi, and tions done with the assistance of his bottega and Gerrit van Honthorst. In the 1620s Manetti his only follower, a son, Domenico. achieved great success with his Caravaggesque Despite the complex web of artistic influ-

62 ences that helped form Manetti's Sienese Car- and breast are revealed by a low-cut, scoop- avaggism, the artist throughout his career necked dress. preferred a distinctive physical type for his The singer as a stock female type offers sev­ painted protagonists. His favorites are often eral points of comparison with the figure in the short and stocky, heavy bodied with fleshy fea­ Oberlin drawing: the position of the head, the tures and broad faces. A female type repeated in type of garment, the upturned eyes, and open many roles is here illustrated by the songstress mouth. Even though the figures differ in the with a guitar in the Gamers and Musicians, c. precise shape of their heads and the angle of 1626, Galleria Chigi Saracini, Siena (fig. 2).7The lighting, their enraptured attitude is quite simi­ stark light of a single candle on the center of a lar. Variants of this basic formula served Manetti table reveals the faces of the cardplayers in front well in many works. As early as 1610, in Manet­ and the two musicians in back picked out against ti's fresco for the sacristy of Santa Maria degli a dark background. The woman playing the Angeli (II Santuccio), Siena, St. Cecilia and an guitar casts her head back as she opens her angel chorister strike variations of this pose as mouth in song. Her eyes turn upward; her throat they make music at a small organ.8 Both these figures display the fat-cheeked, broad-faced type found in the Oberlin drawing. Comparable fe­ male figures, their heads tilted back in ecstasy, astonishment or just the raptures of music- making abound in Manetti's paintings of the mid-l620s. The Penitent Magdalene, Siena, pri­ vate collection, c. 1624, looks upward toward divine radiance; Sophonisba rolls her eyes back to meet her death as she swallows a poisoned drink in the Uffizi canvas of c. 1624; St. Lucy displays her eyes on a plate yet looks heaven­ ward with another pair on a cataletto panel in Santa Lucia, Siena, 1624.9 Such dramatic hero­ ines continue to populate Manetti's paintings in the 1630s. The Assumption of Mary in San Mer- curiale, Forli, of 1632, features an enraptured Madonna surrounded by awestruck angels whom Bagnoli aptly describes as "fissati in arie atto- nite, come incantate."10 The figure on the Oberlin drawing seems to fit well among these "enchanted" figures from Manetti's paintings, but it remains to link her to the artist's graphic works.11 Despite Bagnoli's careful work, we still know too little about Ma­ Here attributed to Rutilio Manetti, Madonna and Child with St. Bernard, pen and ink with wash and red chalk netti as a draughtsman. In the fifty drawings and on paper, Bowdoin College Museum of Art, Brunswick, bozzetti that have been accepted as autograph, Maine. three categories of style and technique domi-

63 9/78v)13 (fig. 4). While it cannot be connected with a known painting by Manetti, the Siena drawing is accepted as Manetti's because it is close to chalk drawings firmly connected with paintings and prints from the 1620s and 1630s. The Siena study of a head and arm occurs on the back of a drawing of St. Cecilia seated at an organ, and both images employ black chalk and white heightening on a medium-toned paper as does the Oberlin work. A black line that thickens *5£ and diminishes marks out the chunky contour of brow and cheek on both sheets. The crescent- shaped eyes gazing up, the smudged chalk blur Rutilio Manetti, Study of a Female Face and Arm, for the nose, the indented chin are repeated also. black chalk with white heightening on paper, Biblio­ Another Manetti drawing in London (fig. 5)14 of teca Comunale di Siena. Photo: Fot Soprintendenza B.A.S. a drowned girl miraculously resuscitated dis­ —Siena plays several maidens with the puffy cheek and prominent fleshy ridge of a low-set ear that nate: highly finished monochrome bozzetti in characterize the Oberlin figure. oil on paper (St. Martin Knighted, Los Angeles On the basis of these comparisons with County Museum of Art); rapid pen, ink, and known paintings and drawings by Rutilio Ma­ wash sketches over faint chalk (studies for a netti, the Oberlin drawing can be added to the Rest on the Flight into Egypt, Metropolitan list of his graphic works. While questions about Museum of Art, and Madonna and Child with St. the precise purpose of the drawing must be left Bernard, Bowdoin College Museum of Art, open, it is apparent that this modest little draw­ Brunswick, Maine)12 (fig. 3), and chalk sketches ing is a telling example of one major current in on grey-blue paper often of figures from life, early seventeenth-century Sienese art. Whether studies of hands, faces, and draperies. The Ober­ saint or songstress, like so many other Baroque lin sheet may be compared with a drawing from heroines, she lifts her gaze toward an unseen this third category, a study of a female face and force that only she can apprehend. arm (Biblioteca Comunale di Siena, S. III. Susan E. Wegner Bowdoin College

64 5. Rutilio Manetti, Drowned Girl Revived, pen and ink with washes and white heightening on paper, British Museum, London. Reproduced by Courtesy of the Trustees of the British Museum.

Notes

1 Ace. no. 70.55. Black chalk on grey-blue paper, traces of lege (Oberlin, Ohio, 1976), p. 72, no. 339, fig. 110 (as white heightening, laid down on white mount with black Francesco Vanni [?]). and orange border design, 138 x 124 mm. Inscribed in 3 Alessandro Bagnoli, Rutilio Manetti (1571-1639) (Flor­ black ink on verso: LONGHI (recent). Small ink stains. ence, 1978); Alessandro Bagnoli, "Aggiornamento di Ru­ Ex-collection Dr. Alfred Bader, Milwaukee, Wisconsin, tilio Manetti," Prospettiva, 13 (1978), pp. 23-42; Mostra by whom given, 1970. di opere d'arte restaurate nelle province di Siena e Gros- 2 Wolfgang Stechow, Catalogue of Drawings and Water- seto (Genoa, 1979), pp. 230-47, and II (1981), pp. 214-17, colors in the Allen Memorial Art Museum, Oberlin Col­ 224-30; L'artea Siena sotto i Medici (1555-1609) (Rome,

65 1980), pp. 176-87; C Brandi, Rutilio Manetti, Siena 6 See Bagnoli, "Aggiornamento," pp. 23-26, and Rutilio (1931); C. Del Bravo, "Su Rutilio Manetti," Pantheon, 24 Manetti, pp. 66-67, for illustrations of these works. The (Jan.-Feb. 1966), pp. 43-51. following summary of Manetti's development is based 4 Manetti's painting of Samson and Delilah is in the Mu­ on Bagnoli's essays, and all works mentioned are illus­ seo de San Carlos, Instituto Nacional de Bellas Artes, trated in the two sources cited above. Mexico City, illustrated in Richard E. Spear, Caravaggio 7 Siena, Chigi Saracini Collection, under the authority of and His Followers, rev. ed. (New York, 1975), p. 126. the Monte dei Paschi di Siena; oil on canvas, 120.5 x Drawings are found in the Los Angeles County Museum 179-5 cm.; discussed by Bagnoli in Rutilio Manetti, p. 112 of Art, Inv. no. 54.12.2, published in E. Feinblatt, Old (with bibliography). Master Drawings from American Collections (Los Ange­ 8 Illustrated in fig. XVIII, p. 137 in Bagnoli, Rutilio Manetti. les, 1976), p. 28, no. 31, fig. 31; Metropolitan Museum of 9 Illustrated in Bagnoli, Rutilio Manetti, p. 102, no. 36 Art, Inv. no. 1972.118.259, illustrated in Jacob Bean, Fif­ (Penitent Magdalene); p. 103, no. 37 (Masinissa and teenth and Sixteenth Century Italian Drawings in the Sophonisba); p. 104, no. 38-c (St. Lucy). Metropolitan Museum of Art (New York, 1982), p. 133, 10 Bagnoli, Rutilio Manetti, p. 125, no. 59, and "Aggiorna­ no. 125; New York, Collection J. Pope-Hennessy, two mento," p. 31 and p. 40, fig. 28. drawings, cited in Bagnoli, "Aggiornamento," p. 37; Bow­ 1' It should be stated at the outset that the Oberlin drawing doin College Museum of Art, Brunswick, Maine, Inv. no. bears little resemblance to Francesco Vanni's many chalk 1982.12, published in David P. Becker, Old Master Draw­ drawings. In proportions and morphology the figure is un­ ings at Bowdoin College (Brunswick, Maine, 1985), pp. like the characteristic female types that populate Vanni's 219-220, no. 170, and in Susan E. Wegner, "Images of the drawings. Vanni's two drawings of St. Cecilia in the Madonna and Child by Three Tuscan Artists of the Early Wallraf-Richartz-Museum in Cologne (n. Z 2023)—see Seicento: Vanni, Roncalli, and Manetti," Occasional Handzeichnungen des 15. und 16. Jahrhunderts und Min- Papers of the Bowdoin College Museum of Art, III, 1986. iaturen aus den Sammlungen des Wallraf-Richartz- 5 Among the many works by Manetti formerly given to Museums Koln (Cologne, 1965), p. 32, n. 57—to which Francesco Vanni are: the altarpiece of the Madonna del the Oberlin drawing is compared in Stechow, Catalogue, Rosario, Collegiata, San Quirico d'Orcia (Bagnoli, "Ag­ p. 72, no. 339, are much more highly finished than the giornamento," p. 33); Immaculate Conception, Massa Oberlin sheet and may be drapery studies taken from a Marittima, Duomo (Bagnoli, "Aggiornamento," p. 32, live model. Two drawings related to the Cologne sheet fig. 14); Sacred and Profane Love, Jerusalem, The Israel are published in Peter Anselm Riedl, Disegni dei baroc- Museum, no. 533.69 (L'arte a Siena, cat. no. 77, pp. 182- ceschi senesi: Francesco Vanni e Ventura Salimbeni, Gabi- 83, ill. p. xxxv and p. 183); formerly given to Vanni or netto Disegni e Stampe degli Uffizi, 46 (Florence, 1976), Salimbeni, Three Graces, Rome, Galleria Borghese (Bag­ pp. 48-49, nos. 39 and 40, figs. 38 and 39, no. 4628 S and noli, Rutilio Manetti, p.75, ill.); formerly given to Salim­ no. 4629 S. beni, Standard of St. Roch, Siena, Canonica di San Pietro 12 For the drawings in Los Angeles, New York, and Bruns­ in Castelvecchio (Bagnoli, Rutilio Manetti, pp. 71-72, ills, wick, see note 4 above. pp. 71 and 21); Manetti drawings formerly classed as 13 Bagnoli, "Aggiornamento," p. 38; Rutilio Manetti, p. 151, Vanni or Salimbeni are in the Uffizi; Biblioteca Marucel- no. 98, with ill. and bibliography. Charcoal, black chalk, liana, Florence; Berlin, Coll. Coldschi; London, British and white heightening on grey-brown paper, 180 x 170 mm. Museum; Louvre, Cabinet des dessins (on these drawings 14 London, British Museum, Inv. no. 1853.8.13-28, pen, see Bagnoli, "Aggiornamento," pp. 35-38), and Bowdoin brown wash, and white heightening on yellow paper. College, Brunswick, Maine (see note 4 above). Bagnoli, "Aggiornamento," p. 36.

66 Acquisitions, 1982-87

The Museum's acquisitions have not been Christopher Wilmarth, and Robert Zakanitch. published in the Allen Memorial Art Museum Bul­ Last but not least, the Museum acquired by gift letin since Volume XL, 1,1982-83, which covered of Evelyn Johnson McAvoy in memory of Elva the acquisitions of 1980-82. For reasons of Johnson Weber, a major mixed-media environ­ space, in lieu of an extended essay on the acquisi­ mental piece of 1975 by Red Grooms, entitled tions of the last five years, what follows are brief Subway Token Booth with Nude Commuters, notes on major additions to the collection and the continued generosity of individual donors. In the area of old master and early modern paintings, 1982-83 saw the purchase of a fine Etfii unfinished panel by the very rare Emilian artist, Giovanni Francesco Bezzi, called Nosadella, who appears to have worked primarily in Bologna between 1558 and his death there in 1571. De­ -4 picting The Presentation in the Temple, the | L 1 work is undated, although a preparatory draw­ ing is known. 1982-83 also saw the acquisition of I the Museum's second painting by Camille Pis- A .- • ' sarro, a work entitled Epping Landscape, painted »,>, in England in 1893. It was bequeathed by Erma f- 1 Smith Barnard. Also acquired were several im­ '1 ,.#* portant post-war American works. Through iC W rKT purchase, the Museum acquired Jonathan Borof- sky's Cambodian Mother Painting at 2,668,302, and through gift received a small untitled oil on % paper by Mark Rothko, dated 1962, the gift of Katharine Kuh in honor of Richard E. Spear, vj% and a small oil on masonite entitled Donald and f ^v» Roy by Alex Katz, the gift of Donald Droll in '«jfe'1r honor of Ellen H. Johnson. The Museum's con­ 9 temporary collection was further enhanced by ,JH the gift of seventeen drawings from alumnus Paul E Walter, long a generous supporter of the wliKyl Museum. Among the drawings are works by Sol LeWitt, Robert Mangold, John Pearson, Doro­ thea Rockburne, Billy Al Bengston, Joan Snyder, Giovanni Francesco Bezzi, called Nosadella, Presenta­ tion in the Temple, oil on panel (82.108)

67 2. Alex Katz, Donald and Roy, n.d., oil on masonite (83.16) originally part of Grooms' Ruckus Manhattan, while Cindy Sherman's Untitled Film Still 1975-76, constructed in collaboration with Mimi (Blonde-Close Up with Lamp), of 1980, was yet Gross and "Ruckus Construction Company." another significant gift from the late Donald 1983-84 was another good year for acquisi­ Droll, this in honor of Chloe Hamilton Young. tions of contemporary art. The Museum received Among older works of art, a notable gift was over ninety drawings and several prints by Eva that of eighteen building studies for the Oberlin Hesse from her sister Helen Hesse Charash, College campus from 1916 to 1930 by Cass Gil­ making the Museum a major repository of the bert, architect of the Museum, the gift of the artist's work. Three important acquisitions of Rev. Cass Gilbert III. photographs or photograph-related works were The year 1984-85 saw another gift of histori­ also made during the year: Hans Haacke's The cal significance, a group of five handsome water- Right to Life and John Baldessari's Man with colors of the interior of the Allen Memorial Art Nails/Car/Reluctant Man were both purchased, Museum, painted in 1939-40 by Emeritus Profes-

68 sor of Art Paul B. Arnold, and given by him. Two ner. The Museum's first nineteenth-century long-time, generous donors also made impor­ English sculpture was also acquired during the tant additions to the Museum's sculpture collec­ year, Thomas Thornycroft's equestrian bronze tion. Alumnus John N. Stern further improved of Queen Victoria, the gift of John N. Stern, the nineteenth-century sculpture collection that along with three French bronzes of the nine­ he has done so much to build, with the gift of teenth century by Pradier, Chapu, and Picault. Jean-Baptiste Clesinger's marble bust of Ari­ Among old master drawings, two gifts of great adne. Allan Frumkin was the donor of Joseph rarity were made by the late Professor Harold Cornell's Sand Fountain, the Museum's second Jantz, an alumnus, and Dr. Eleanore Jantz: a box assemblage by the artist. sketchbook of drawings made in Italy by Wil- 1985-86 saw particularly significant acquisi­ helm von Bemmel, and a travel diary with sketch­ tions in the area of textiles. By purchase and the book by Vincent Laurensz. van der Vinne, both gift of private donors, the Museum acquired the Dutch seventeenth century. Sarah Mahan Quilt of 1850-51, a rare autograph The year was also an active one for modern quilt of great historical importance to the city of and contemporary acquisitions. The most impor­ Oberlin. Ernest H. Roberts, long a generous tant was the gift of Mr. and Mrs. James Roemer, donor to the Museum's distinguished collection Class of 1927, of William Baziotes' Relic of 1961- of Islamic carpets, added further to the collection 62, a late work by this first-generation New by the gift of a Persian Kilim rug of circa 1890 York School painter and an important addition from the Baluchi tribe, and a Turkoman door rug to the collection of post-war American painting. of circa 1875 from the Tekke tribe. Also of note A similarly desirable addition was the gift of were the gift from Paul E Walter of a painting of Mrs. Jane S. Murray of George Segal's Black Girl, the Madonna and Child attributed to the work­ Black Doorframe of 1978, a relief sculpture shop of Andrea del Sarto, and the gift of Louis which significantly expands the range of the and Annette Kaufman of a Milton Avery gouache post-war American sculpture collection. The Mu­ entitled Vermont Scene, of 1935-40. seum also received a gift of seven photographs In the last year, 1986-87, a wide variety of from alumnus Thomas M. Hill, Jr., who has works were acquired for the collection. Foremost substantially increased the Museum's photog­ among them was Sir Thomas Lawrence's por­ raphy collection over the years. Among his most trait of Eleanor, Lady Wigram of 1815-16, the recent gifts were works by Imogen Cunning­ first full-length portrait to enter the collection, ham, Harold Edgerton, and Olivia Parker. A gift which was purchased in memory of Chloe Ham­ of four contemporary prints, including works by ilton Young, the late Senior Curator of the Muse­ Adolf Gottlieb and Roy Lichtenstein, was made um. It adds further strength to the Museum's by alumnus Carl R. Gerber, and a portfolio of small but varied collecton of British paintings seventeen prints by Robert Rauschenberg was that already includes works by Hogarth, Rey­ the gift of Lawrence and Carol Zicklin. nolds, West, Wright of Derby, Martin, and Tur­ William J. Chiego

69 Mark Rothko, American, 1903-1970 List of Acquisitions, 1982-83 Untitled, 1962 FIG. 4 Oil on paper mounted on wooden panel 30.5 cm. x 23.1 cm. Gift of Katharine Kuh in Honor of Richard E. Spear 82.114 PAINTINGS

Giovanni Francesco Bezzi, called Nosadella, Italian, David Saunders, American, 1954- d. 1571 Untitled (Desdemona), 1982 Presentation in the Temple, n.d. FIG. 1 Oil on canvas Oil on panel 127.4 cm. x 158.2 cm. 65.5 cm. x 45.1 cm. Gift of Evelyn J. McAvoy in Memory Mrs. E F Prentiss and R.T. Miller, Jr. Funds 82.108 of W. Robert McAvoy 83.20 Alfred Sisley, French, 1839-1899 Jonathan Borofsky, American, 1942- Sketch for a Landscape, n.d. Cambodian Mother Painting at 2,668,302, 1980 Oil on canvas Charcoal on canvas, bamboo pole, litter leaflets, 46.3 cm. x 55.9 cm. plastic bucket and water, tin can and welding rod Bequest of Erma Smith Barnard 83.11.b 256.5 cm. x 147.3 cm. Charles F. Olney and Friends of Art Endowment Robert S. Zakanitch, American, 1935- Funds Study for Purple Up, 1971 82.107 Oil and graphite on canvas 35 cm. x 45 cm. Alex Katz, American, 1927- Gift of Paul F. Walter 82.144 Donald and Roy, n.d. FIG. 2 Oil on masonite 24.7 cm. x 35.2 cm. Gift of Donald Droll in Honor of Ellen H. Johnson 83.16

Sylvia Plimack Mangold, American, 1938- Untitled, 1978 Oil, acrylic, and masking tape on canvas 22.8 cm. x 30.5 cm. Gift of Donald Droll in Honor of Ellen H. Johnson 83.18

Douglas Dean Ohlson, American, 1936- Sketch for Tomhannock, 1966 Acrylic on canvas 30.5 cm. x 101.5 cm. Gift of Donald Droll in Honor of Ellen H.Johnson 83.19

Camille Pissarro, French, 1831-1903 Epping Landscape, 1893 FIG 3 Oil on linen canvas 45.7 cm. x 55.9 cm. 3. Camille Pissarro, Epping Landscape, 1893, oil on can­ Bequest of Erma Smith Barnard 83.10 vas (83.10)

70 DRAWINGS AND WATERCOLORS

Chuck Arnoldi, American, 1946- Untitled, 1972 Twine and latex on cardboard 59.8 mm. x 75.1 mm. Gift of Paul F. Walter 82.128

Jo Baer, American, 1929- Untitled, 1965 Acrylic with pencil underdrawing on paper 104 mm. x 15 mm. Gift of Donald Droll in Honor of Ellen H. Johnson 83.17

Mark Rothko, Untitled, 1962, oil on paper mounted on wooden panel (82.114)

SCULPTURE

Scott Burton, American, 1939- Chair, 1979 FIG. 5 Bronze, solid cast 102.2 cm. x 56.6 cm. x 42.9 cm. Gift of Philip Droll at the Direction of Donald Droll in Honor of Richard E. Spear 83.14

South Italian, Metaponto, late 6th century Female Head from a Votive Statuette Terracotta (mold formed) 8 cm. x 5.3 cm. Friends of Art Fund 83.25

5. Scott Burton, Chair, 1979, bronze (83.14)

71 Billy Al Bengston, American, 1934- Merry-Joseph Blondel, French, 1781-1853 Untitled, 1973 Two Priests Carrying the Ark of the Covenant Air-brushed acrylic on paper in the Desert, mid 1830s FIG 6 578 mm. x 578 mm. Black chalk and graphite on paper Gift of Paul F. Walter 82.133 402 mm. x 248 mm. Friends of Art Fund 83.27

Vregilles de Boulet, French, 18th century Lampe a chemine de verre et a courant d'air, late 18th century Pen and ink and watercolor over pencil on paper 461 mm. x 648 mm. Friends of Art Endowment Fund 83.23

David Diao, American (b. China), 1943- Untitled, 1971 Acrylic on paper 864 mm. x 559 mm. Gift of Paul F Walter 82.143

Gordon Hart, British, 1940- Untitled, 1973 Tempera on gold metal 767 mm. x 570 mm. Gift of Paul F Walter 82.130

Sol LeWitt, American, 1928- Untitled, 1973 Folded paper 340 mm. x 340 mm. Gift of Paul F. Walter 82.127

Robert Mangold, American, 1937- Study-Distort Circle/Polygon 1, U114, 1972 Acrylic and graphite on paper 367 mm. x 367 mm. Gift of Paul F. Walter 82.138

David Novros, American, 1941- Untitled, 1969 Graphite and colored pencils on paper 561 mm. x 760 mm. Gift of Paul E Walter 82.135

Claes Oldenburg, American, 1929- 6. Merry-Joseph Blondel, Two Priests Carrying the Ark Model for an Outdoor Sculpture, 1969 of the Covenant in the Desert, mid 1830s, black chalk Felt-tip pen and ball-point pen on paper and graphite heightened with white on blue-tinted 216 mm. x 280 mm. paper (83.27) Gift of Betty Spurlock 83.28

72 John Pearson, American (b. England), 1940- William Wegman, American, 1943- Rotation/Gestalt Series: C5, 1972 Absorbed, 1974 Graphite and colored pencil on paper Graphite on paper 660 mm. x 1017 mm. 216 mm. x 280 mm. Gift of Paul F. Walter 82.129 Gift of Paul F. Walter 82.134

Christopher Wilmarth, American, 1943- Lucio Pozzi, American, 1935- Untitled, 1973 "10 April 1974," 1974 Pencil and watercolor on paper Acrylic on emery cloth with crayon on paper 197 mm. x 760 mm. 369 mm. x 382 mm. Gift of Paul F. Walter 82.126 Gift of Paul F. Walter 82.139 Peter Young, American, 1940- Dalia Ramanauskas, American (b. Lithuania), 1936- Painting-Drawing 36, 1971 C. R. #4 Carton, 1974 Acrylic and watercolor on paper Pen and colored inks on paper 166 mm. x 176 mm. 558 mm. x 456 mm. Gift of Paul F. Walter 82.136 Gift of Paul F.Walter 82.131

Dorothea Rockburne, American (b. Canada), 1921- Untitled, 1972 PRINTS Gum labels with "release" paper labels on postcard 148 mm. x 105 mm. Federico Barocci, Italian, 1526-1612 Gift of Paul F. Walter 82.141 St. Francis Receiving the Stigmata, n.d. Etching and engraving 229 mm. x 148 mm. Alfred Sisley, French, 1839-1899 Gift of Parks and Christie Campbell 83.32 La Gare Moret sous la Neige, n.d. Pastel on paper Herbert Bayer, American (b. Austria), 1921- 457 mm. x 559 mm. Reflected Lines, 1965 Bequest of Erma Smith Barnard 83.1 La Lithograph 510 mm. x 510 mm. Joan Snyder, American, 1940- Anonymous Gift in Honor of John N. Stern 82.110 Untitled, 1970 Watercolor, pastel, and pencil on rice paper Thomas Hart Benton, American, 1889-1975 534 mm. x 660 mm. The Boy, 1948 Gift of Paul E Walter 82.137 Lithograph 305 mm. x 405 mm. Michelle Stuart, American, 1938- Gift of Dr. and Mrs. Stephen Gerson 82.122 Fossil Series: Barnegat Bay I, 1976 Richard Bosman, American (b. India), 1944- Handmade paper impressed with earth Suicide, 1980-81 203 mm. x 241 mm. Color woodcut Gift of Donald Droll in Honor of Ellen H.Johnson 335 mm. x 704 mm. 83.31 Friends of Art Endowment Fund 83.13

Richard Tuttle, American, 1941- John Cage, American, 1912- Untitled (from July 5 - August 5, 1970 Series), 1970 Where R=Ryoanji, suite of 4 prints, 1983 Ball-point pen on paper Drypoint 229 mm. x 153 mm. 237 mm. x 595 mm. each Gift of Paul F. Walter 82.142 Friends of Art Fund 8329.1-4

73 Lovis Corinth, German, 1858-1925 Marco Ricci, Italian, 1676-1730 Self-Portrait, 1916 Village on a River with a Ferry, n.d. Lithograph Etching 422 mm. x 354 mm. 308 mm. x 378 mm. Gift of Pamela and James Elesh in Honor Friends of Art Endowment Fund 83.24 of Wolfgang Stechow 82.112 Bridget Riley, English, 1931- Lovis Corinth, German, 1858-1925 Elapse, 1982 Self-Portrait with Easel, 1918 Silkscreen Drypoint 1023 mm. x 641 mm. 323 mm. x 253 mm. Gift of the Print Club of Cleveland 82.106 Gift of Pamela and James Elesh in Honor of Wolfgang Stechow 82.113 Susan Rothenberg, American, 1945- Richard Estes, American, 1936- Head and Bones, 1980 Urban Landscapes No. 3, suite of 8 prints, 1981 Woodcut Screenprint 655 mm. x 479 mm. 500 mm. x 700 mm. each Friends of Art Endowment Fund 83.21 Gift of Joseph R. Lasser 82.109.1-8

Francisco Goya, Spanish, 1746-1828 Los Caprichos, 6th edition, 1890-1900 PHOTOGRAPHS Folio of 80 etchings 335 mm. x 245 mm. each American, 19th century Bequest of Elisabeth Lotte Franzos 83.1 Chicago, after the Fire of 1861, set of 4 photos Albumen prints Jasper Johns, American, 1930- 265 mm. x 327 mm. each False Start II, 1962 Gift of Mr. and Mrs. Richard Dunn 83.4-.7 Colored lithograph 826 mm. x 626 mm. Larry Clark, American, 1943- Gift of Ellen H. Johnson in Honor of Richard E. Untitled from Tulsa, 1971 Spear 83.2 Silver print 204 mm. x 306 mm. Kathe Kollwitz, German, 1867-1945 Fund for Photography in Honor Small Self-Portrait, 1920 of Ellen H. Johnson 83.22 Lithograph on laid Japanese paper 360 mm. x 307 mm. Gift of Pamela and James Elesh in Honor Robert Frank, American, 1924- of Wolfgang Stechow 82.111 Restaurant - U.S. 1, leaving Columbia, South Carolina, 1955/1979 (reprinted) Reginald Marsh, American, 1898-1954 Silver print Tattoo - Shave - Haircut, 1932 216 mm. x 321 mm. Etching Fund for Photography in Honor 395 mm. x 335 mm. of Ellen H. Johnson 83.30 Gift of Dr. and Mrs. Stephen Gerson 82.121 Barbara Kruger, American, 1945- Claes Oldenburg, American, 1929- "Charisma is the perfume of your gods," 1982 Multimousse, ca. 1965 Black and white photomural Silkscreen 1271 mm. x 1245 mm. 966 mm. x 638 mm. Funds provided by Carl Gerber in Memory Gift of Douglas Baxter 82.146 of Elizabeth Ann Gerber 83.3

74 Joseph Shoemaker, American, 1764-1829 Helmet-shaped Cream Pot, ca. 1795 Silver 181 mm. x 139 mm. x 67 mm. Gift of Louise and John Dickie 83.12

CERAMIC

South Italian, Apulia, Gnathia Oenochoe with Running Hare, ca. 325-300 B.C. Terracotta 235 mm. x 139 mm. (diameter) Friends of Art Fund 83.26

COSTUMES AND ACCESSORIES

Gifts made to the Helen Ward Memorial Collection of Costumes and Textiles in 1982-83 include: a Lesznai embroidered rug (82.48) and Hungarian morning suit (83.9) from Susi Lanyi; 5 Chinese canopy val­ ances (82.116-20) and a 19th-century Chinese robe (82.145) from Mr. and Mrs. Richard Ament; a man's formal suit, shirt, and overcoat (82.123-25) from Red Grooms, Subway Token Booth with Nude Commu­ Mr. and Mrs. George T.Jones; a pair of embroidered ters, 1975, mixed media (83.15) woman's gloves (83.8) from Mrs. Andrew Gerber.

MIXED-MEDIA COLLAGE Red Grooms, American, 1937- Tom Wudl, American, 1948- Subway Token Booth with Nude Commuters, Untitled, 1972 from Ruckus Manhattan, 1975 FIG. 7 Gold foil, crayon, and gold paint on newspaper Acrylic on canvas, wooden frame and 280 mm. x 353 mm. base, electric light, and velcro seams Gift of Paul F Walter 82.132 214 cm. x 222.3 cm. x 176.5 cm. Gift of Evelyn Johnson McAvoy in Memory of Elva Johnson Weber 83.15

METALWORK

Austrian, Vienna Necessaire, ca. 1930 Gold with hinged lid 57 mm. x 57 mm. x 13 mm. Gift of Mr. and Mrs. Severance Millikin 82.115

75 List of Acquisitions, 1983-84 DRAWINGS AND WATERCOLORS Hippolyte (Paul) Delaroche, French, 1797-1856 Charles V Visiting Francois I after the Battle of Pavia, ca. 1828 Watercolor, graphite, and ink on paper PAINTINGS 133 mm. x 144 mm. Friends of Art Fund 84.23 Nancy Chunn, American, 1947- Lebanon, 1984 Oil on canvas General Idea (A. A. Bronson, Canadian, 1946-; Felix 91.4 cm. x 91.4 cm. Partz, Canadian, 1945-; Jorge Zontal, Italian, 1944-) Friends of Art Endowment Fund 84.24 Boudoir Poodles, 1983 Oil pastels and acrylic on paper Richard George, American, 1935- 362 mm. x 388 mm. The Ceremony IV, n.d. Special Acquisitions Fund 84.16 Acrylic on canvas 142.3 cm. x 193.3 cm. Cass Gilbert, American, 1859-1930 Gift of John N. Stern 84.42 Building studies for Oberlin College campus, 1916-1930 Ida Kohlmeyer, American, 1912- Graphite on paper Cluster 93, 1974 Various sizes Oil on canvas Gift of Reverend Cass Gilbert III 83.132.1-18 1733 cm. x 163.3 cm. Gift of Mrs. P. Roussel Norman in Honor of the Inauguration of President S. Frederick Starr 83.127 Michael Glier, American, 1953- "Don," from the Men at Home series, 1984 Bob Thompson, American, 1937-1966 Oil stick on paper Winter or the Flood, 1965 1016 mm. x 648 mm. Oil on canvas Charles F. Olney Art Fund 84.30 91.8 cm. x 61.2 cm. Gift of John N. Stern 83.131 Eva Hesse, American (b. Germany), 1936-1970 90 drawings Various sizes Gift of Helen Hesse Charash 83.109.1-21, SCULPTURE 83.109.23-32, 83.109.35-44, 83.109.46-66, 83.109.68-73, 83.10977-84, 83.109.86-93, Adalbert John Volck, American, 1828-1912 83.109.95-100 Scenes from Launcelot and Elaine, 1884 Hollow-cast relief shield, silver on copper Patricia Johanson, American, 1940- 54.2 cm. x 54 cm. x .6 cm. "'Butterfly Park' (Color Landscape)," 1981 Gift of Mr. and Mrs. Harold Jantz 83.103 Acrylic, pastels, ink, and conte crayon on paper 1067 mm. x 923 mm. Gift of Evelyn Johnson McAvoy in Memory of J. Robert McAvoy 83.101

Sherrie Levine, American, 1947- After Joan Miro, 1984 Watercolor and pencil on paper 360 mm. x 279 mm. Friends of Art Fund 84.29

76 Douglas Michels, American, 1943- Vija Celmins, American, 1939- Oberlin 2133, 1983 Constellation-Uccello, 1982 Pen and ink and colored pencil on black-line print Aquatint with etching 610 mm. x 917 mm. 226 mm. x 156 mm. Friends of Art Endowment Fund 84.2 Friends of Art Fund 84.27

Candace Hill-Montgomery, American, 1945- Sue Coe, English, 1951- "Keepful Peaceful Negotiations," 1982 El Salvador, 1982-83 Oil on paper Photo-etching 302 mm. x 225 mm. 146 mm. x 225 mm. Friends of Art Endowment Fund 83.108.1 Special Acquisitions Fund 84.21 Candace Hill-Montgomery, American, 1945- "The Date to Get Back is Now," 1982 Sue Coe, English, 1951- Oil on paper Bobby Sands, 1982-83 302 mm. x 227 mm. Photo-etching Friends of Art Endowment Fund 83.108.2 149 mm. x 197 mm. Special Acquisitions Fund 84.22 Rene (Carlos) Santos, American (b. Puerto Rico), 1954- John E. Costigan, American, 1888-1972 Harp Drawing ttl, 1983 Untitled, n.d. Colored pencil with overlay Etching 754 mm. x 551 mm. 203 mm. x 203 mm. Friends of Art Endowment Fund 83.129 Gift of Mrs. Charles Watson McCandless 84.12 Migita Toshihide, Japanese, 1839-1892 Salvador Dali, Spanish, 1904- Portrait of an Actor, 1893 The Hawaiian Fishermen, n.d. Color woodblock Color lithograph 356 mm. x 243 mm. 305 mm. x 604 mm. Friends of Art Fund 84.31 Gift of Mr. and Mrs. George Zitner 84.33 Richard Yarde, American, 1939- Brass, 1981 Richard Earlom, English, 1743-1822 Offset color lithograph Landscape with Dancing Figures, 1775 524 mm. x 719 mm. Engraving and mezzotint (watercolor added Friends of Art Endowment Fund 83.122 in later hand) 208 mm. x 259 mm. Gift of the Vixseboxse Gallery 84.13

English, 18th century PRINTS The Man of Moderation, n.d. Albert Besnard, French, 1849-1934 Etching L'Accouchement (from the series La Femme), 1886 317 mm. x 241 mm. Etching and drypoint Mrs. Annie A. Wager Bequest 84.11 318 mm. x 248 mm. Friends of Art Endowment Fund 84.26 General Idea (A. A. Bronson, Canadian, 1949-; Felix Partz, Canadian, 1945-; Jorge Zontal, Italian, Giulio Bonasone, Italian, ca. 1510 - ca. 1580 1944-) God Creating Eve, 1540s Test Tube, 1980 Engraving Chromolithograph 191 mm. x 214 mm. 507 mm. x 369 mm. R.T. Miller, Jr. Fund 83.100 Special Acquisitions Fund 84.17

77 Jack Goldstein, Canadian, 1945- Untitled, 1983 AMERICAN Lithograph and silkscreen CYANAMID 763 mm. x 1108 mm. General Acquisitions Fund 84.19

Jack Goldstein, Canadian, 1945- Untitled, 1983 Lithograph and silkscreen 762 mm. x 1106 mm. General Acquisitions Fund 84.20

Eva Hesse, American (b. Germany), 1936-1970 9 untitled etchings Various sizes Gift of Helen Hesse Charash 83.109.33-34, 83.109.45, 83.109.67, 83.109.74-.76, 83.109.85, 83.109.94

AMERICAN CYANAMID & the porenr of substances ore now grven a choice. Eva Hesse, American (b. Germany), 1936-1970 OflECK1 Inc.. moher of ihe shampoo which They con be reassigned ro a possibly lowei Keeps ihe Brech Gwfs hair deoh shinsig paying job within the company. They can Untitled end beoutifut leave if there is no opening. Or they con hove AMERICAN CYANAMID does more fot women. themselves sterilized ond stoy In their Woodblock It knows '^ reajty don r run a heolth spa. old job. And merefore rhose of Irs femole employees Four yVesr Virgins women chose srerilizorjon 187 mm. x 514 mm. of child-bearing age who ore exposed ro toxic AMERICAN CYANAMID... Gift of Helen Hesse Charash 83.109.22 WhcivWomen lunvaClioicr Marcantonio Raimondi, Italian, 1470/88 - ca. 1534 Amadeo Berruti Conversing with Austerity, Friendship, and Love, ca. 1514 Hans Haacke, The Right to Life, 1979, color photo­ Engraving graph and silkscreen (83.116) 100 mm. x 113 mm. Friends of Art Endowment Fund 83.123

James Sayer, English, 1748-1823 James Sayer, English, 1748-1823 Such was the love of office of the noble lord.. Paradise Lost, 1782 (?) 1783 (?) Etching Etching 277 mm. x 229 mm. 286 mm. x 426 mm. Mrs. Annie A. Wager Bequest 84.10 Mrs. Annie A. Wager Bequest 84.7

James Sayer, English, 1748-1823 PHOTOGRAPHS A New Pantomime, n.d. Anonymous, American and European, 19th century Etching 9 photographs 324 mm. x 260 mm. Various sizes Mrs. Annie A. Wager Bequest 84.8 Gift of Marilyn W. Grounds 83.102.1-9

James Sayer, English, 1748-1823 Anthony Barboza, American, 1944- Razor's Levee, 1783 (?) lntrospect, 1982 Etching Type "C" print 276 mm. x 405 mm. 470 mm. x 597 mm. Mrs. Annie A. Wager Bequest 84.9 Special Acquisitions Fund 84.15

78 John Baldessari, American, 1931- Sherrie Levine, American, 1947- Man with Nails/Car/Reluctant Man, 1984 After Ernst Ludwig Kirchner, 1982 FIG 9 Black and white print Type "C" print 508 mm. x 271 mm. 374 mm. x 263 mm. R.T. Miller, Jr. Fund 84.40 Friends of Art Endowment Fund 83.124

Ellen Brooks, American, 1946- Nicholas Nixon, American, 1947- Hat and Shoe, 1983 Boston Common, 1978 Cibachrome print Silver print 503 mm. x 1212 mm. 203 mm. x 254 mm. Gift of Paul E Walter in Honor Fund for Photography in Honor of Douglas Baxter 83.107 of Ellen H. Johnson 84.32

Sarah Charlesworth, American, 1947- Unidentified Man, Ontani Hotel, Los Angeles, 1980 Photomural print 1962 mm. x 1028 mm. R.T. Miller, Jr. Fund 83.41

Albert Chong, American (b. Jamaica), 1958- Natural Mystic, 1982 Silver print 375 mm. x 372 mm. Fund for Photography in Honor of Ellen H. Johnson 84.46

Stephen Frailey, American, 1957- Untitled, 1982 Type "C" print 254 mm. x 254 mm. Fund for Photography in Honor of Ellen H. Johnson 84.1

John Glascock, American, 1954- To investigate government leaks she pretends to marry a presidential aide, 1983 Color print with painting 917 mm. x 952 mm. Friends of Art Endowment Fund 83.125

Louise Lawler, American, 1947- "Devise Circle," Corner Cabinet Arranged by Mr. and Mrs. Burton Tremaine, Connecticut, 1984 Cibachrome color print 598 mm. x 610 mm. Friends of Art Fund 84.28

Hans Haacke, American, 1936- The Right to Life, 1979 FIG 8 Color print and silkscreen 1276 mm. x 1023 mm. 9. Sherrie Levine, After Ernst Ludwig Kirchner, 1982, R.T. Miller, Jr. Fund 83.116 type "C" print (83.124)

79 Richard Prince, American, 1949- By Richard Prince: A Photograph of Brooke Shields —Afc. by Gary Gross, 1983 Type "C" print 597 mm. x 403 mm. Friends of Art Endowment Fund 84.41

Cindy Sherman, American, 1954- Untitled Film Still (Blonde—Close Up with Lamp), 1980 FIG 10 Color print 660 mm. x 965 mm. Gift of Donald Droll in Honor of Chloe Hamilton Young 84.18 r i Coreen Simpson, American, 1942- 10. Cindy Sherman, Untitled Film Still (Blonde—Close- Untitled (Hand with Water/Self-Portrait, Haiti), Up with Lamp), 1980, black and white photograph 1978 (84.18) Type "C" print 911 mm. x 1346 mm. Gift of John N. Stern 83.115 Dara Birnbaum, American, 1946- James Welling, American, 1951- Technology/Transformation: Wonder Woman, 1978; Untitled, 1981 Kiss the Girls: Make Them Cry, 1979; Pop-Pop Type "C" print Video: General Hospital/ Olympic Speed Skating, 508 mm. x 406 mm. 1980; Pop-Pop Video: Kojak/Wang, 1980 Fund for Photography in Honor 3/4" color video with stereo sound of Ellen H. Johnson 8399 Special Exhibitions Fund 84.35

Lyn Blumenthal, American, 1948- Joel Peter Witkin, American, 1939- Soctal Studies. 1983 Torture of the Pope in Exile, 1982 3/4" color video with stereo sound Toned gelatin-silver print Special Exhibitions Fund 84.37 373 mm. x 378 mm. Friends of Art Endowment Fund 83.121 Marjorie Kramer, American, 1943- Freedom of Information Tape 1: Jean Seberg, 1980 3/4" color video with sound Special Exhibitions Fund 84.36

FILM/ VIDEO

Max Almy, American, 1948- JEWELRY Leaving the Twentieth Century, 1983 3/4" color video with stereo sound American Indian (Hopi, Navajo, and Zuni), Special Exhibitions Fund 84.34 ca. 1960-1980 6 bracelets, 4 necklaces, and a pair of earrings Anna-Marie Arnold, American, 1960- Sterling silver and turquoise Ghost Dances, 1983 Various sizes 3/4" color video with sound Gift of William Bigglestone in Memory Special Exhibitions Fund 84.38 of Mary Grady Bigglestone 83.105.1-8

80 Frances Jones, American Indian, Navajo COSTUMES AND TEXTILES Sandcast Necklace, n.d. Sterling silver Gifts made to the Helen Ward Memorial Collection of 756 mm., with medallions 61 mm. x 57 mm. and Costumes and Textiles in 1983-84 include: a christen­ 19 mm. x 19 mm. ing coat (83-40) from Mr. Stanton McLaughlin; vari­ Gift of William Bigglestone in Memory ous formal and informal woman's clothing, woman's of Mary Grady Bigglestone 83.105.9 outerwear, and accessories (83.42-98) from Mr. and Mrs. Stanley Gottlieb; an evening cape (84.45) from Philbert Poseyesva, American Indian, Hopi Mrs. K. N. Packard; Chinese and Javanese fans Hopi Choker, n.d. (84.3-6) from Mrs. Elma Davis; a man's tuxedo shirt Sterling silver (83.133) from Arthur Fowls. 49 mm. x 12.2 mm. Gift of William Bigglestone in Memory of Mary Grady Bigglestone 83.105.10

TEXTILES

R. R. Tut and Son, American U. S. Centennial Decorative Ribbon, 1876 Silk brocade 16.9 cm. x 5.6 cm. Gift from the Clarence Ward Art Librarv 83128

ARCHIVAL MATERIAL

Eva Hesse, American (b. Germany), 1936-1970 Personal correspondence Gift of John Lloyd Taylor 83.130.1-10

FURNITURE

Charles Eames, American, 1907-1978, designer Stacking Chairs, ca. 1960 Molded plastic and steel 44.4 cm. x 46.9 cm. x 40.6 cm. each Gift of Dr. Phillip Moos in Memory of William Moos 84.43.1-3

Charles Eames, American, 1907-1978, designer Armchair, ca. I960 Molded plastic and steel 43.5 cm. x 61.5 cm. x 44.4 cm. Gift of Dr Phillip Moos in Memory of William Moos 84.44

81 List of Acquisitions, 1984-85

PAINTINGS

Donald Baechler, American, 1956- Hadrian in America, 1982 Enamel on paper 116.8 cm. x 90.2 cm. Friends of Art Endowment Fund 84.71

David Brokaw, American, 1812-(?) Portrait of a Woman in a Black Dress, ca. 1835 Oil on canvas 76.2 cm. x 66.1 cm. Gift of Oberlin College Archives 85.5

Louis-Michel Eilshemius, American, 1864-1941 Seascape with Lighthouse, late 1930s Oil on canvas 47.6 cm. x 48.2 cm. Gift of Louis and Annette Kaufman 85.11

Leon Kelly, American, 1901-1982 Figure Composition, 1922 Oil on canvas 15.5 cm. x 25.9 cm. 11. Jean-Baptiste Clesinger, Bust of Ariadne, 1867, marble Charles F. Olney Fund 84.67 (84.56)

David Saunders, American, 1954- Study for Many Rivers Form from a Mingling SCULPTURE of Brooks Oil and pencil on canvasboard Alexander Calder, American, 1898-1976 40.6 cm. x 50.8 cm. ADAA Award Stabile to Professor Wolfgang Gift of the Artist in Honor of Ellen H. Johnson 84.52 Stechow, 1975 Bronze Audrey Skuodas, American, 1940- 23.5 cm. x 28 cm. x 2.5 cm. Untitled, 1983 Gift of Ursula Stechow 85.1 Acrylic and colored pencil on paper Jean-Baptiste Clesinger, French, 1814-1883 76.2 cm. x 107.6 cm. Bust of Ariadne, 1867 FIG 11 Friends of Art Endowment Fund 84.55 Marble 68 cm. x 36 cm. x 30 cm. Gift of John N. Stern 84.56

Joseph Cornell, American, 1903-1972 Sand Fountain, mid-1950s FIG. 12 Wood, glass, sand, putty, and newsprint Gift of Allan Frumkin 84.69

82 Paul B. Arnold, American, 1918- Director's Office, Allen Memorial Art Museum, 1939-40 Watercolor 71.1 cm. x 56.5 cm. Gift of the Artist 85.8

Paul B. Arnold, American, 1918- Stern Gallery, Allen Memorial Art Museum, 1939-40 Watercolor 67.3 cm. x 55.9 cm. Gift of the Artist 85.9

Paul B. Arnold, American, 1918- Stern Gallery. Allen Memorial Art Museum, 1939-40 Watercolor 50.2 cm. x 66 cm. Ciift of the Artist 85.10

12. Joseph Cornell, Sand Fountain, mid-1950s, wood, glass, sand, putty, and newsprint (84.64)

DRAWINGS AND WATERCOLORS

Paul B. Arnold, American, 1918- Gallery, Allen Memorial Art Museum, 1939-40 Watercolor 69.8 cm. x 54 cm. Gift of the Artist 85.6

Paul B. Arnold, American, 1918- Gallery, Allen Memorial Art Museum, 1939-40 FIG. 13 Watercolor 618 cm. x 50.8 cm. 13. Paul B. Arnold, Gallery, Allen Memorial Art Museum, Gift of the Artist 85.7 1939-40, watercolor (85.7)

83 Paul Cadmus, American, 1904- Francisco, Factory Worker #2, 1933 no. 14 Graphite on paper 292 mm. x 228 mm. V Special Acquisitions Fund 85.3

Francisque Duret, French, 1804-1864 Study for the Statue of Law, n.d. Charcoal on tinted paper 218 mm. x 302 mm. Gift of Madeleine Hours 84.51

Eva Hesse, American (b. Germany), 1936-1970 Untitled, 1967 Ink on paper 280 mm. x 217 mm. Friends of Art Endowment Fund 84.48

Italian, Rome, 18th century Study for a Pieta, n.d. Pencil with white heightening on paper 292 mm. x 216 mm. Special Acquisitions Fund 85.12

14. Paul Cadmus, Francisco, Factory Worker #2, 1933, PRINTS graphite on paper (85.3) English, 18th century An Accurate Map of North America, 1763 Engraving with hand-coloring 1016 mm. x 1067 mm. Gift of Richard Robson 85.2

Jenny Holzer, American, 1950- Jenny Holzer, American, 1950- Survival Series, 1983 Truisms, 1977-83 Set of 8 offset prints on silver stickers Pair of offset prints 64 mm. x 77 mm. each 560 mm. x 432 mm. each Gift of the Artist 84.57.1-8 Gift of the Artist 84.60.1-2

Jenny Holzer, American, 1950- Nicholas LeSueur, French, 1691-1764 Inflammatory Essays, 1979-1983 Sacrifice of Elijah to the Prophets of Baal, n.d. Set of 9 offset prints Etching and chiaroscuro woodcut 254 mm. x 254 mm. each 39 mm. x 19 mm. Gift of the Artist 84.58.1-9 Mrs. E F. Prentiss Fund 84.64

Jenny Holzer, American, 1950 Diana Scultori, Italian, fl. 1573-88 Inflammatory Essays, 1979-83 Christ and the Adulteress, 1613 Set of 39 offset prints Engraving 432 mm. x 432 mm. each 421 mm. x 574 mm. Gift of the Artist 84.59.1-39 Friends of Art Endowment Fund 84.50

84 Nancy Spero, American, 1926- TEXTILES Untitled, 1982 Handprint and collage Germanic, early 20th century 514 mm. x 2122 mm. Tunic Friends of Art Endowment Fund 84.54 Green silk 102.8 cm. x 78.7 cm. x 48.8 cm. Gift of Reverend David A. Novak in Memory of Casimir R. Novak 84.49 PHOTOGRAPHS Turkoman, Saryk Frank Majore, American, 1948- Turkoman Carpet, ca. 1875 Arrivistes, 1983 Wool and silk with asymmetrical knot Cibachrome print 228.5 cm. x 269.3 cm. 509 mm. x 407 mm. Gift of Ernest H. Roberts 84.68 Fund for Photography in Honor of Ellen H. Johnson 84.66

Joel Sternfeld, American, 1944- BOOKS Canyon County, California, June, 1983, 1983 Ektachrome print Programs for the Ballet Russes de Monte Carlo 406 mm. x 508 mm. American tour, performances in Cleveland, 1935-1955 Fund for Photography in Honor 310 mm. x 235 mm. each of Ellen H. Johnson 84.65 Gift of Edna S.Jacobs 85.4.1-7

Holly Wright, American, 1941- True Saints series, 1980-84 10 silver gelatin prints COSTUMES AND ACCESSORIES 355 mm. x 355 mm. each Friends of Art Endowment Fund 84.47.1-10 Gifts made to the Helen Ward Memorial Collection of Costumes and Textiles in 1984-85 include: a camisole, a cowl-necked blouson, a shoulder wrap, and four evening purses from Florence R. Hill FILM/VIDEO (85.14-20). Nancy Buchanan, American, 1946- An End to All Our Dreams, 1982 3/4" color video with sound Special Acquisitions Fund 84.62

Jill Kroesen, American, 1949- Lowell Moves to New York, 1984 3/4" color video with sound Special Acquisitions Fund 84.63

DECORATIVE ARTS

American, late 19th century Tiffany Vase Favrile glass 224 mm. x 76 mm. x 46 mm. Gift of Karl Heiser 85.13

85 Robert Swain, American, 1940- List of Acquisitions, 1985-86 Peace, 1971 Acrylic on canvas 44.4 cm. x 50.8 cm. Anonymous Gift 85.32

Jeff Way, American, 1942- PAINTINGS Square, ca. 1967 Oil on canvas American, 19th century 102.2 cm. x 102.2 cm. Landscape with Mountains, n.d. Anonymous Gift 85.30 Oil on wood 50.8 cm. x 69.8 cm. Emmanuel de Witte, Dutch, 1617-1692 Special Acquisitions Fund 86.3 Interior of the Oude Kerk, Delft, n.d. Oil on panel Milton Avery, American, 1885-1965 48 cm. x 40.5 cm. Vermont Scene, ca. 1935-40 Gift of Marco Grassi 85.25 Gouache 43.8 cm. x 59.1 cm. Gift of Louis and Annette Kaufman 85.22

Jake Berthot, American, 1939- DRAWINGS Untitled, ca. 1969 Pencil and acrylic on paper Will Insley, American, 1929- 22.8 cm. x 42.6 cm. Channel Space Reverse/Plan, 1968-69 Anonymous Gift 85.38 Pencil on rag board 762 mm. x 762 mm. Jean Dufy, French, 1888-1964 Anonymous Gift 85.29 Place de la Concorde, 1924 Garry Rich, American, 1943- Oil on canvas No. 28, 1968 50.8 cm. x 59.7 cm. Pencil on paper Gift of Mrs. Anna K. Landis 86.1 216 mm. x 279 mm. Anonymous Gift 85.35 Italian, first half 16th century Workshop of Andrea del Sarto Garry Rich, American, 1943- Madonna and Child, n.d. FIG 15 No. 173, 1968 Oil on glass Felt-tip pen on paper 59.3 cm. x 44 cm. 330 mm. x 432 mm. Gift of Paul F. Walter 85.23 Anonymous Gift 85.36

Frank Owen, American, 1939- Jenny Snider, American, 1944- Strophe #7, 1970 Untitled, n.d. Acrylic on paper Brush and ink on paper 57.6 cm. x 76.6 cm. 915 mm. x 610 mm. Anonymous Gift 85.33 Anonymous Gift 85.31

Garry Rich, American, 1943- Jenny Snider, American, 1944- Seriei #i Al, 1969 Untitled, 1972 Acrylic on paper Colored pencil on paper 45.7 cm. x61.1 cm. 610 mm. x 965 mm. Anonymous Gift 85.40 Anonymous Gift 85.39

86 Jean Kubota Cassill, American, 1926- Full Sky, Empty Sea, n.d. Intaglio 565 mm. x 959 mm. Gift of Dr. and Mrs. Gorden Hasse 85.43

Peter Milton, American, 1930- Daylilies, 1975 Intaglio 648 mm. x 965 mm. Gift of Dr. and Mrs. Gorden Hasse 85.44

Liliana Porter, Argentina, 1941- 1968, 1968 Photo-etching 406 mm. x 337 mm. Anonymous Gift 85.37

PHOTOGRAPHS Marianne Engberg, American, 1937- Steps in Tivoli, n.d. Black and white print 432 mm. x 432 mm. Fund for Photography in Honor of Ellen H. Johnson 85.21

MIXED-MEDIA 15. Workshop of Andrea del Sarto, Madonna and Child, David Diao, American, 1943- first half of sixteenth century, oil on panel transferred Sandpaper, ca. 1970 to glass (82.23) Pencil on sandpaper 238 mm. x 344 mm. Anonymous Gift 85.34 Jeff Way, American, 1942- Joel Fisher, American, 1947- Untitled, 1968 Untitled, n.d. Colored pencil on graph paper Handmade paper 584 mm. x 457 mm. 812 mm. x 1142 mm. Anonymous Gift 85.41 Anonymous Gift 85.42

TEXTILES PRINTS American, 19th century Romare Bearden, American, 1914-1988 Sarah Mahan Quilt, 1850-51 Outchorus, n.d. Cotton Silkscreen 222.2 cm. x 194.2 cm. 570 mm. x 762 mm. Special Acquisitions Fund and Gift Gift of Nancy and Mark Edelman 86.11 of Private Donors 85.24

87 Persian, Baluchi English (London) Kilim Rug, ca. 1890 Georgian Spoons, ca. 1730 Wool Silver 245.1 cm. x 129.6 cm. 86.8 a: 18.7 cm. x 4.1 cm. x 1.3 cm. Gift of Ernest H. Roberts 85.26 86.8 b: 17.7 cm. x 4.1 cm. x 1.3 cm. Gift of Mr. and Mrs. John S. Service 86.8 a-b Turkoman, Tekke Door Rug, ca. 1875 John Fawdery, English Wool George I Toddy Ladle, 1722 119.4 cm. x 86.5 cm. Silver Gift of Ernest H. Roberts 85.27 35.7 cm. x 8.3 cm. x 4.5 cm. Gift of M;-. and Mrs. John S. Service 86.5

Indonesian Tea Set, 1955-65 CERAMIC Tinwear Corinthian Tray: 2.6 cm. x 29.2 cm. (diameter) Aryballos, ca. 600 B.G Teapot: 35.2 cm. x 24.1 cm. x 10.1 cm. Terracotta Cups: 5.7 cm. x 8 cm. x 6.1 cm. 6.4 cm. x 6.1 cm. (diameter) Gift of Mr. Lowell Mellen 86.2 Gift of Mrs. Leonie Schmidt 86.10

METALWORK

Dutch Continental Tablespoon, ca. 1700 Silver 18.7 cm x 4.6 cm. x 1 cm. Gift of Mr. and Mrs. John S. Service 86.9

John Eckfourd, English George II Coffeepot, 1752 Silver 25.5 cm. x 22.5 cm. x 10.8 cm. Gift of Mr. and Mrs. John S. Service 86.4

T. and W Chowner(?), English (London) George III Tablespoons, ca. 1760-65 Silver 21.5 cm. x 4.4 cm. x 2.3 cm. each Gift of Mr. and Mrs. John S. Service 86.6 a-b

English (London) Georgian Soup Spoon, ca. 1720-40 Silver 18.3 cm. x 4.1 cm. x 1.3 cm. Gift of Mr. and Mrs. John S. Service 86.7

88 List of Acquisitions, 1986-87 DRAWINGS AND WATERCOLORS Wilhelm von Bemel (Bemmel), Dutch, 1630-1708 Sketchbook, 1650 Pencil with ink and ink washes on paper 213 mm. x 139 mm. PAINTINGS Gift of Dr. and Mrs. Harold Jantz 86.22

William Baziotes, American, 1912-1963 William Gedney Bunce, American, 1840-1916 Relic. 1960-61 FIG. 16 Portfolio, n.d. Oil on canvas Pencil on paper 154.9 cm. x 125.7 cm. Various dimensions Gift of Mr. and Mrs. James Roemer '27 86.47 Gift of Dr. and Mrs. Harold Jantz 86.21.1-29

Theophile de Bock, Dutch, 1851-1904 Warrington Colescott, American, 1921- Wooded Landscape, n.d. Department of Interior: Garage Sale, 1982 Oil on canvas Watercolor 32.4 cm. x 48.9 cm. 642 mm. x 928 mm. Gift of Dr. and Mrs. Harold Jantz 86.43 Gift of John N. Stern 86.28

Jules Charles Choquet, French, fl. 1884-1932 Still Life with Pots, Glasses, Lemons, and Knife, n.d. Oil on canvas 27 cm. x 35.2 cm. Gift of Dr. and Mrs. Harold Jantz 86.44

Sir Thomas Lawrence, English, 1769-1830 Eleanor, Lady Wigram, 1815-16 FIG. 17 Oil on canvas 240 cm. x 149.9 cm. Purchase in Memory of Chloe Hamilton Young, R.T. Miller, Jr. and Mrs. E F Prentiss Funds 86.17

Armando Spadini, Italian, 1883-1925 Young Boy with Bird, n.d. Oil on canvas 59.4 cm. x 95.6 cm. Gift of Mr. and Mrs. Landis Macintosh in Memory of Jeffrey L. Macintosh 86.19

Follower of Karl Spitzweg, German, 1808-1885 Scholar with Dachshund on Walk in the Forest, n.d. Oil on panel 18.5 cm. x 14.6 cm. Gift of Dr. and Mrs. Harold Jantz 86.45

Barbara Strasen, American, b. 1942- Dentist Office Aquarium, ca. 1974 Oil on canvas 121.9 cm. x 152.4 cm. 16. William Baziotes, Relic, 1960-61, oil on canvas Gift of Samuel and Marcia Goldberg 86.16 (86.47)

89 17. Sir Thomas Lawrence, Eleanor, Lady Wigram, 1815-16, oil on canvas (86.17)

90 Martha Erlebacher, American, 1937- Jan Gerritsz. van Bronckhorst, Dutch, 1603T677 Double Torso, 1978 Antiquitatis aestimator et styli, ca. 1650s Pencil on paper Etching 278 mm. x 333 mm. 203 mm. x 254 mm. Gift of John N. Stern 86.29 Special Acquisitions Fund 87.14

Eva Hesse, American (born in Germany), 1936-1970 Warrington Colescott, American, 1921- Untitled, 1965 Welcome to Watt Park, 1984 Pen and colored inks on paper Intaglio 495 mm. x 652 mm. 603 mm. x 905 mm. Gift of Ellen H. Johnson in Memory Gift of John N. Stern 87.9 of Chloe Hamilton Young 86.27 Warrington Colescott, American, 1921- Washington Video: Down in the Think Tank, 1982 Charles Landelle, French, 1812-1908 Intaglio Draped Female Figure, Study for The Virgin 880 mm. x 607 mm. at the Deathbed of St. Joseph, 1875 Gift of John N. Stern 87.10 Red chalk and washes on paper 343 mm. x 248 mm. Sam Francis, American, 1923- NEA Challenge Fund 87.16 Turn, 1972 Colored lithograph Athena Tacha, American (born in Greece), 1936- 711 mm. x 888 mm. Working drawing for Chloe, 1985 Gift of Carl R. Gerber in Honor Pastel, felt-tip pens, and pencil on paper of Richard Spear 86.32 559 mm. x 712 mm. Gift of Athena Tacha in Memory Jean-Louis-Andre-Theodore Gericault, of Chloe Hamilton Young 87.5 French, 1791-1824 Lion Devouring a Horse, 1823 Vincent Laurensz. van der Vinne, Dutch, 1629-1702 Lithograph Diary with Sketchbook, 1652 195 mm. x 240 mm. Pencil, brown ink, red and grey washes on paper Charles F Olney Fund 87.19 214 mm. x 281 mm. Gift of Dr. and Mrs. Harold Jantz 86.23 Adolph Gottlieb, American, 1903-1974 Flying Lines, 1967 Serigraph 762 mm. x 559 mm. Gift of Carl R. Gerber in Honor PRINTS of Athena Tacha 86.33

Norman Ackroyd, English, 1938- Giovanni Francesco Grimaldi, Italian, 1606-1680 Landscape with a Rainbow, 1968 Three Boys at the Bank of a Stream, n.d. Color etching and mezzotint Etching 495 mm. x 597 mm. 324 mm. x 438 mm. Gift of Carl R. Gerber in Honor Special Acquisitions Fund 87.15 of Forbes Whiteside 86.31 Roy Lichtenstein, American, 1923- Nicolas Beatrizet, French, 1515-after 1565 Mirror No. 2, 1972 The Death of Meleager, n.d. Six-color linecut/screenprint Engraving 711 mm. x 711 mm. 292 mm. x 416 mm. Gift of Carl R. Gerber in Honor Special Acquisitions Fund 87.13 of Ellen H. Johnson 86.34

91 Robert Rauschenberg, American, 1925- Lewis Koch, American, 1949- "Surface" portfolio from Currents, 1970 Brick Radiator Shop, 1986 Silkscreen Black and white print 889 mm. x 889 mm. 374 mm. x 476 mm. Gift of Lawrence and Carol Zicklin 86.20.1-17 Fund for Photography in Honor of Ellen H. Johnson 87.21 Marco Dente da Ravenna, Italian, fl. 1515-1527 Venus Wounded by a Rose Thorn, ca. 1516 Lewis Koch, American, 1949- Engraving Tree and Mailboxes, 1986 267 mm. x 174 mm. Black and white print Special Acquisitions Fund 87.11 362 mm. x 467 mm. Cornells Vermeulen, Flemish, 1644-1708 Fund for Photography in Honor of Ellen H. Johnson 87.22 Maria Luisa de Tassis (after Anthony Van Dyck) Engraving Olivia Parker, American, 1941- 459 mm. x 338 mm. The Eastern Garden, 1980 Special Acquisitions Fund 87.12 Type "C" print 190 mm. x 243 mm. Gift of Thomas M. Hill, Jr. 86.38 PHOTOGRAPHS Charles Pratt, American, 1926-1976 William Christenberry, American, 1936- Untitled, ca. 1963 The Bar-B-Q Inn, Greensboro, Alabama, 1976 Black and white print Type "C" print 267 mm. x 327 mm. 81 mm. x 124 mm. Gift of Thomas M.Hill, Jr. 86.39 Gift of Thomas M.Hill, Jr. 86.35

Imogen Cunningham, American, 1883-1976 John Sexton, American, 1953- The Unmade Bed, 1957 Merced River and Forest, Yosemite Valley, Yosemite Black and white print National Park, California, 1976 261 mm. x 335 mm. Black and white print Gift of Thomas M. Hill, Jr. 86.36 262 mm. x 326 mm. Gift of Thomas M.Hill, Jr. 86.35 Harold E. Edgerton, American, 1903- Tennis-Forehand Drive, Jenny Tuckey, 1938 David Wilson, American, 1945- Black and white print Spruce Trunks, Yellowstone Park, 1986 241 mm. x 327 mm. Color print Gift of Thomas M. Hill, Jr. 86.37 276 mm. x 355 mm. Fund for Photography in Honor Douglas Frank, American, 1948- of Ellen H. Johnson 87.20 Converging Streams, Oregon, 1980 Platinum and palladium print 254 mm. x 203 mm. Fund for Photography in Honor of Ellen H. Johnson 87.18 SCULPTURE

Andre Kertesz, Hungarian, 1894-1985 Henri-Michel-Antoine Chapu, French, Satiric Dancer, 1926 1833-1891 Silver print Monument to Flaubert, ca. 1887 FIG 18 254 mm. x 203 mm. Bronze Fund for Photography in Honor 28 cm. x 14.6 cm. x 3.9 cm. of Ellen H. Johnson 87.17 Gift of John N. Stern 86.30

92 Thomas Thornycroft, English, 1815-1885 Equestrian Statue of Queen Victoria, 1853 Bronze 54 cm. x 16.5 cm. x 67.3 cm. Gift of John N. Stern 87.8

COSTUMES AND TEXTILES

American, 1850s Day Dress Cotton Gift of the Johnson Family 86.14

American, 18th century Deaconess' Cap, ca. 1780 Flowered brocade 17 cm. x 21 cm. Gift of Mrs. John W Kurtz 86.15

Turkoman, Salor Bag Face, ca. 1860 Wool 81.3 cm. x 129.6 cm. Gift of Ernest H. Roberts 86.24

Turkoman, Saryk Rug with Multiple Niches, ca. 1900 Wool 18. Henri-Michel-Antoine Chapu, Monument to Flau­ 203.3 cm. x 144.8 cm. bert, c. 1887, bronze (86.30) Gift of Ernest H. Roberts 86.25

Persian, Shiraz area Emile-Louis Picault, French, 1839-? Large Saddle Bags, ca. 1900 Le Souvenir, ca. 1895 FIG 19 Wool Bronze 144.8 cm. x 76.2 cm. 62.3 cm. x 27.3 cm. x 17.8 cm. Gift of Ernest H. Roberts 86.26 Gift of John N. Stern 87.6

Jean-Jacques Pradier, French, 1790-1852 The Toilet of Atalanta, ca. 1850 Bronze CERAMIC 22.9 cm. x 12.7 cm. x 17.8 cm. Gift of John N. Stern 87.7 Maria Martinez (1884-1980) and Popovi Da (d. 1971), American Indian (Pueblo) George Segal, American, 1924- Blackware Bowl, ca. 1950-70 Black Girl, Black Doorframe, 1978 Earthenware Painted wood and plaster 11.5 cm. x 14.1 cm. x 11.1 cm. 88.3 cm. x 32.1 cm. x 44.5 cm. Gift of Maxine W. Houck '58 and Family in Memory Gift of Mrs. Jane S. Murray 86.46 of her Mother, Margaret S. Wenzler 86.18

93 Northeast Thailand, 1st century B.C. Roller Earthenware 3 cm. x 1.6 cm. x 1.4 cm. Gift of Robert S. Griffin 87.4

STONEWORK

Chinese, Ch'ing Dynasty (A.D. 1644-1912) Disk White jade 7 mm. x 58 mm. (diameter) Gift of Mrs. Ursula Stechow 86.41

Chinese, Ch'ing Dynasty (A.D. 1644-1912) Disk White jade 5 mm. x 17 mm. (diameter) Gift of Mrs. Ursula Stechow 86.42

19. Emile-Louis Picault, Le Souvenir, c. 1895, bronze (87.6)

Northeast Thailand, 1st century B.C. Pot Earthenware 17.8 cm. x 18 cm. x 17.8 cm. Gift of Robert S. Griffin 87.1

Northeast Thailand, 1st century B.C. Pot Earthenware 18.5 cm. x 18.9 cm. x 17.8 cm. Gift of Robert S. Griffin 87.2 a-b

Northeast Thailand, 1st century B.C. Lid Earthenware 8.9 cm. x 15.9 cm. x 15.2 cm. Gift of Robert S. Griffin 87.3

94 Chloe Hamilton Young (1927-1985), to acquire for the Museum—not through asser­ Memorial Minute tion, but through unconscious, gentle persua­ sion, which sprung naturally from her breadth The following tribute to Chloe Hamilton of knowledge and sense of quality, from the Young, the late Senior Curator of the Museum, refined judgment of a real connoisseur. was written by Richard E. Spear, Mildred fay "I found things today that I would rather see Professor of Art at Oberlin College, who served us get," she continued in that letter. She then as Director of the Museum from 1972 to 1985. described three Victorian paintings and draw­ Adopted by the General Faculty of Oberlin Col­ ings, which, along with the decorative arts in lege on May 14,1983, it was previously published general, and the French Rococo in particular, in the Oberlin Alumni Magazine issue of winter constituted her favorite fields. Among the three 1981. was a landscape by George Frederick Watts. In 1974 while visiting art dealers during a Upon seeing it a second time, she wrote that, "it leave from her museum work in England, Chloe is even finer than I remembered: airy, wonderful Young wrote to me a couple of sentences that transparencies, a good size, the paint layer solid reflect so much of her sensitivity and personal world: "Ellen has left ... I'd feel better about acting on the landscape by Heusch at Richard Green's if I got in touch with you one more time, since it means so much to Wolf. I went to see it again yesterday. David went with me. I don't know about you, but I prefer looking at things with someone. It sharpens one's ideas about a thing in talking it over later." In this letter we find Chloe in London seeking out acquisitions for the Art Museum with her most important teacher and mentor, and life-long friend, Ellen Johnson. After her departure, Chloe was revisit­ ing the dealer Richard Green to reconsider her own lack of enthusiasm for a Dutch landscape by Willem de Heusch that had been recommended by another of her teachers, and later colleagues, Wolfgang Stechow, precisely because "it means so much to Wolf." Characteristically, she not only weighed her judgment with special care, but she tested it against David's, her husband, who shared so much of her professional life and benefitted, in turn, from Chloe's deep interest in English liter­ ature. Though she was one of the most attentive listeners I have ever known, she frequently con­ 1. Chloe Hamilton Young, 1961 verted the talkers to what she felt would be best Photo: Arrhur Princehorn

95 as far as I can tell. The cool distant hills incredibly because she then would be too far from the subtle and refined." curatorial records, which held the information Senior Curator of the Allen Memorial Art closest to her heart. Museum at the time of her death in February In another letter of early 1975 she described 1985, Chloe Hamilton Young was educated at to me her recent projects, two of which epito­ Oberlin, where she earned both the bachelor's mize her work as curator, as the one who really and master's degrees in art history. She studied knew and cared for the collections with exem­ under Johnson and Stechow, two of the College's plary devotion. She had spent countless hours, most illustrious teachers, and Clarence Ward, she said, "going through our storage area con­ the founding Director and Chairman of the Mu­ taining glass, ceramics, bronzes, woodwork, seum and Art Department. A Fulbright Fellow Americana, and all the bric-a-brac that still lies to France in 1950, she joined the staff of the about from the Olney Bequest of 1904, with a Museum in 1952, which she then served for visiting expert . . . gathering and collating our thirty-one years, twice as Acting Director, and notes and discussions." The other project, which long as Editor of its scholarly Bulletin. actually was very ambitious and demanding, she As Editor she followed in the footsteps of described only as "the transfer to the Museum of Stechow, and especially Laurine Mack Bongior­ the Wager collection of British mezzotints and no, who played such an important role in Chloe's caricature prints . . . a week in the Wager Room intellectual life. To the Bulletin she contributed at Carnegie, with Chester Shaver, going through important articles herself, on German and the whole collection and comparing the prints French Rococo porcelain and metalwork; on we found with Professor Wager's lists, and the drawings by Gillot and Huet; on paintings by on-going process of accessioning them." Thomas Barker of Bath and John Martin, and a These tasks may sound routine when stated variety of other subjects—all of which are so simply, but they are not. They are the basis models of elegantly polished prose. The cata­ upon which any museum's primary activities, logue of Oberlin's permanent collections of the preservation and exhibition of works of art, paintings and sculptures, that of its drawings, are based. Through her quiet dedication to her and, most recently the major catalogue of the job, immense knowledge, and exquisite taste, Ainsworth collection of Japanese prints, resulted Chloe Young taught many others—students, from her selfless labor on publications bearing curators, and directors alike—the importance of other authors' names. curatorial excellence. Her personal legacy rests Chloe Young's favorite work, however, was with her family, friends, and colleagues, who neither writing and editing, nor visiting dealers, never will forget how she cared for them with despite her real success with those activities. She the same loving gentleness with which she was happiest, I think, when working directly handled Rococo porcelain. Her public and pro­ with the collections—organizing them, cata­ fessional legacy is found everywhere in the Allen loguing them, caring for them, displaying them. Art Museum: physically in its collections, intel­ I recall her once saying that she did not want to lectually in its publications, and spiritually in its move downstairs in the Museum to a much standards of quality. larger office, with direct access to the secretary,

96 Chloe Hamilton Young Notes Bibliography, Allen Memorial Art Museum Bulletin

"A Portrait of General Kosciusko by Benjamin West," IX, Chloe Hamilton Young Memorial Fund Summer 1951, pp. 81-91. Foreword, "Exhibition of Paintings from College and Uni­ With the funds contributed by her friends versity Collections," X, Winter 1953, p. 38. and relatives as a memorial to Chloe Hamilton "A Landscape by Wright of Derby," XII, Fall 1953, pp. 17-22. Young, an annual lectureship has been estab­ "Recent Gifts: An Italian Velvet and a Feininger Water- lished in her name. To be called the Chloe Ham­ color,': XV, Fall 1957, pp. 15-19. ilton Young Lecture, this yearly event will be "An Institute on Administration and Services in the Smaller devoted to subjects that reflect Chloe's interests, Art Museum," XVI, Fall 1957, pp. 20-23. including British art, the decorative arts, and Introduction, "Catalogue of Miller Fund Acquisitions," XVI, drawings. It will be sponsored jointly by the art Winter 1959, pp. 51-54. museum and the art department, and the selec­ "A French Provincial Coffeepot," XIX, Winter 1962, pp. tion of speakers will be made by the director and 97-101. curators of the museum and the art department "Oberlin Friends of Art: 25th Anniversary," XXI, Winter 1964, pp. 69-70. faculty. A complete list of donors to the fund will appear in a future issue. "A Nymphenburg Porcelain Grotto," XXI, Summer 1964, pp. 135-41. "A Drawing from the Circle of Claude Gillot," XXII, Summer 1965, pp. 101-6. In Memory of Forrest Mack (1918-1986) Introduction, "Ingres and His Circle, an Exhibition of Draw­ Forrest Mack, who served ably as Senior ings," XXIV, Summer 1967, pp. 143-45. Guard of the Museum since 1980, died in Febru­ "An Early Drawing by Jean-Baptiste Huet," XXVI, Summer ary 1986 after a long illness. A group of staff 1969, pp. 107-15. members, dccents, and friends have established "A Late Drawing by Gavarni," XXXI, no. 2 (1973-74), pp. a memorial fund in his name, and their names 106-8. "Wolfgang Stechow, 1896-1974," XXXII, no. 1 (1974-75), are listed elsewhere in this issue. The purpose of pp. 4-5. the fund has not been decided. Foreword, "Islamic Carpets from the Museum Collection," XXXVI, no. 1 (1978-79), pp. 4-5. "Acquisitions, 1976-78" (with Richard Spear and Stephen Recent Staff Changes McGough), XXXVI, no. 2 (1978-79), pp. 119-28. Foreword, "Young Americans," XXXVIII, no. 2 (1980-81), Since the last publication of the Museum's p. 69. Bulletin (volume XLII, no. 1, 1984-85), there "Acquisitions, 1978-80" (with William Olander and Chris­ have been numerous staff changes. M. Kirby tine Dyer), XXXVIII, no. 2 (1980-81), pp. 2-20. Talley, Jr. resigned as Director effective August "John Martin's Cadmus and its Sources," XXXIX, no. 2 1985. Samuel C. Carrier, Provost, served as Act­ (1981-82), pp. 71-82. ing Director until the appointment of William J. "Acquisitions, 1980-82" (with William Olander, Richard Chiego as Director effective August 1986. Spear and Christine Dyer), XL, no. 1 (1982-83), pp. 3-13. Elizabeth Shepherd, Curator, and William "Thomas Barker of Bath's Interior of a Mill and the Rustic Figure," XLII, no. 1 (1984-85), pp. 23-25. Olander, Curator of Modern Art, resigned effec- 97 tive December 1984. Chloe Hamilton Young, tory assistant from September 1985 through Senior Curator, continued to serve in this post June 1987. until her death in February 1985. Kimberlie L. Jacqueline Pries served as Senior Guard Gumz, Registrar, served as Acting Curator of through November 1985. Forrest Mack, Senior Collections from August 1985 until October Guard since 1980, died in February 1986. Ms. 1986. Pries and Mr. Mack were succeeded by Laura Palli Davene Davis, appointed Acting Assis­ Koehn and Frank D. Pruchnicki. Mr. Pruchnicki tant to the Director in January 1985, was named served until July 1987 and was temporarily re­ Acting Coordinator of Educational Programs in placed by Glenn Clapp until the appointment of August 1985, and served in that position until a new security staff in November 1987. Ms. November 1987. Jeannette Lawson, appointed Koehn served through November and then N.E.A. Education Intern in February 1987, suc­ joined the new staff as Laura Wolf. ceeded her. Judith E. Fannin resigned as Administrative Secretary in May 1985 and was succeeded by A New Director and Chief Curator Jennifer Rinehart, who served as Acting Secre­ tary until April 1987. William J. Chiego was appointed the Muse­ Mary Durling served as Acting Assistant to um's sixth Director effective August 15, 1987. the Acting Curator of Collections from August Mr. Chiego came to Oberlin directly from the 1985 until October 1986. She was subsequently North Carolina Museum of Art, where he served made Acting Assistant to the Director for mem­ as Chief Curator from 1982 to 1986. He served bership, special events, and promotion while previously as Chief Curator of the Portland Art continuing her work as project director for the Museum (Oregon) from 1976 to 1982, and as college's National Endowment for the Arts Assistant Curator and then as Associate Curator Bandstand Project through June 1987. of European Paintings at the Toledo Museum of Deborah Koncan served as Curatorial Assis­ Art from 1973 to 1976. Mr. Chiego received his tant from January 1986 through January 1987. B.A. from the University of Virginia, and his Sonia Lismer served as Graduate Assistant for M.A. and Ph.D. in art history from Case Western 1984-85; Nancy Huth served as Graduate Assis­ Reserve University, where he took courses with tant for 1985-86; and John Appley served as the late Wolfgang Stechow, Professor of Art at Graduate Assistant for 1986-87. Oberlin College from 1940 to 1963. Fiona F. Maxwell, Jonathan Louie, and Ste­ Larry J. Feinberg was appointed Chief Cura­ phen Hansen, interns during 1984-85, were tor effective October 7,1987. Mr. Feinberg came succeeded by Leah H. Reeder and Jack W. to Oberlin directly from The Frick Collection in Schlechter, who served respectively as Intern/ New York, where he served as Lecturer from Assistant to the Registrar from October 1985 1983 to 1986. He served previously as Research through May 1987 and Intern/Assistant to the Assistant in Graphic Arts and assisted in the Preparator from January 1986 to January 1987. editing of several major catalogues at the Na­ Arthur Fowls retired in May 1986 as Head tional Gallery of Art from 1981 to 1983. Mr. Custodian. He was succeeded by Stephen Fixx, Feinberg received his B.A. from Northwestern who served as Acting Custodian through June University, and his M.A. and Ph.D. in art history 1987, and as the primary or secondary prepara­ from Harvard University.

98 Arthur Fowls Retires sary. The director also presented a formal gallery talk on the exhibition "Director's Choice: Nine­ Arthur Fowls retired from the Museum in teenth-Century European Art from the Collec­ May 1986 after twenty-three years of devoted tion." Larry J. Feinberg, Chief Curator, presented service as Head Custodian. His many talents and formal gallery talks on Abraham Bloemaert's warm personality added much to the Museum Adoration of the Magi, a special loan from the over the years. Centraal Museum, Utrecht, on January 4, 1987, and another on the Museum's own painting by Recent Grants Hendrick ter Brugghen, St. Sebastian Attended by St. Irene on June 7. Palli Davene Davis, for­ Grants to the Museum in 1986-87 totalled mer Acting Coordinator of Educational Pro­ SI 18,180. These included two Institute of Mu­ grams, presented a gallery talk, "Lewis Hine's seum Services grants: a $53,180 award for Child Labor Photographs, Art as Evidence," on general operating support, and a $9,400 award April 5. for a conservation survey of the Museum's Euro­ Ellen H. Johnson, Emerita Professor of Art pean and American works of art on paper. Also and Honorary Curator of Modern Art, presented awarded were a National Endowment for the a lecture on Red Grooms on February 26. Grover Arts grant of $ 10,500 for an internship in educa­ Zinn, Danforth Professor of Religion, presented tion, an Ohio Arts Council grant of $8,388 for a gallery talk on "Stories and Images from the the exhibition program, and a second grant from Old and New Testament" on December 7. Sigrid a private trust of $5,000 to fund the Museum's Casey, Assistant Professor of Art, presented a busing rebate program for school tour groups. lecture on "Lewis Hine and Other Social Com­ The Museum also received grants from the mentary Photographers" on April 9. Nordson Foundation and the Stocker Founda­ Other guest speakers included Richard Wat­ tion, private foundations in Lorain County, up to tenmaker, Director, Flint Institute of Arts, who a maximum of $10,000 and $5,000 per year re­ presented the lecture "Samuel Yellin in Con­ spectively, to match new memberships and con­ text" on February 22,1987. On March 1, Arnold tribution increases over a three-year period. Klukas, Oberlin College Affiliate Scholar, pre­ sented the lecture "The Marriage of Architecture Recent Education Programs and Craft: Cass Gilbert and Ralph Adams Cram." On May 3, Dustin Wees, Librarian of Several staff members presented lectures Photographs and Slides of the Clark Art Insti­ and formal gallery talks during the last year. tute, presented a lecture on "The Mezzotints of William J. Chiego, Director, presented "Internal John Martin" for the exhibition he organized. Drama: The Art of Sir David Wilkie" on May 5, Carol Clark, Senior Research Fellow for the 1987, after previous presentations at the Yale Prendergast Catalogue Project at the Williams Center for British Art, New Haven, and the College Museum of Art, presented the lecture North Carolina Museum of Art, Raleigh. On "Thomas Moran and Yellowstone." June 13, the director presented "From Private A docent corps, begun in late 1985 by Palli Pleasure to Oberlin Treasure: Notable Collectors Davene Davis, former Acting Coordinator of and the Allen Memorial Art Museum" on the Educational Programs, continued to aid the occasion of the Museum's seventieth anniver­ Museum in many ways, with school tours, spe-

99 cial events, and membership mailings. The fol­ an intensive residency program from July 20 lowing individuals, including both active and through 27, 1986. In 1987, the program was inactive members, have joined the docent pro­ repeated with forty-eight participants as a self- gram since its inception: Jane Armitage, Cynthia supporting program, the summer residency tak­ Bailey, Philipp Burgtorf, Nancy Cooper, Joan ing place from July 17 through 27. Palli Davene Denk, Anita Dillon, Ann Fauver, Dora Grills, Davis, program director, was assisted by Chris­ Mary Haverstock, Diana Holton-Hinshaw, Bon­ tine N. Morton as temporary education assistant nie Ivancic, Anne Johnson, Wallace Johnson, in 1986, and by Jeannette Lawson, N.E.A. Educa­ Marion Kelly, Rebecca Kinney, David Laczko, tion Intern, in 1987. Norine Morton, Jane Nord, Florence Muller, Peg Piraino, Cecilia Samuels, Elizabeth Spur­ lock, Betty Urbansky, Jeannette Vance, Mary Oberlin Friends of Art Film Series Louise Van Dyke, and Helen Young. Fall 1986, Films on Contemporary American In addition to lectures, gallery talks, and Artists school tours, many other public programs have Fall 1987, Norman MacLaren Film Festival. been offered over the last two years, including senior teas, a Saturday gallery sketching club for children, and the National Humanities Youth Recent Staff Publications Project. The last named program has been of­ fered twice. In 1986, with the help of a National Chiego, William J. (organizer). Sir David Wilkie Endowment for the Humanities Grant of of Scotland 1783-1841. Catalogue by H.A.D. $26,498, sixty-two high school students partici­ Miles and David Blayney Brown. North Car­ pated in this program to use the Museum as a olina Museum of Art (dist. by the University laboratory for an interdisciplinary approach to of North Carolina Press), 1987. the history of art. Twenty-three area students Feinberg, Larry J. The Works of Mirabello Cava- participated over the school year and joined lori. Ann Arbor: University Microfilms In­ thirty-nine students from around the country in ternational, 1986.

100 Nov. 26,1985 -Jan. 19,1986 Romanticism vs. Classi­ cism; A Modern View of the Holidays Jan. 28 - March 2,1986 Dutch Landscape Prints RECENT EXHIBITIONS from the Permanent Collection April 13 - May 31,1986 High Gothic Structure: Stern Gallery A Technological Reinterpretation April 30 - August 18, 1985 American Pictures and June 10 -July 20,1986 The Humble Landscape: Sculpture Barbizon Works Sept. 7 - Nov. 17, 1985 Dutch Drawings: from the Permanent Collection 1945-85 August 5 - Sept. 28,1986 Saving Face: The Dec. 10,1985 - March 23,1986 Modern Paintings Portrait from the Permanent Collection Oct. 3 - Nov. 16,1986 Love, Glory and Guns: Images of Peace and War Jan. 14 - March 23,1986 A Modern Sensibility: from the Permanent Works from a Private Collection Collection April 5 -May 31,1986 A New World: Neo­ Nov. 25 - Dec. 31,1986 The Renaissance in classical Drawings from Oberlin: A Selection of the Collection of Fifteenth- and Sixteenth- Lodewijk Houthakker, Century Graphic Art Amsterdam from the Collection Jan. 11 -March 1,1987 Corresponding Worlds June 10 - August 31, 1986 American Folk Art: A View of the Western Re­ — Artists' Stamps serve in the Nineteenth March 13 - April 26,1987 Seventeenth-Century Century Dutch Prints from the Collection Sept. 7 - Oct. 26, 1986 Weegee May 2-July 5,1987 The Great Oberlin Nov. 9,1986 - Jan. 4,1987 Director's Choice: Bandstand Design Nineteenth-Century Competition European Art from the Collection March 10 - April 21,1987 Lewis Hine: Child Labor Photographs April 28-June 21,1987 "Darkness Visible": The Goblet Room Prints of John Martin Nov. 19,1985 -Jan. 31,1986 The Vienna Secession: Paintings and Drawings Ripin Print Gallery Feb. 9 - March 23, 1986 Forgotten Objects: Decorative Arts Sept. 16 - Nov. 10,1985 A Personal View: from the Permanent Nineteenth-Century Collection Photographs from the May 20-Sept. 1,1986 The Swift Collection Collection of Paul F. of American Pattern Walter Glass Goblets

101 Nov. 5 - 30,1986 Frederick B. Artz: Friend of the Library Dec. 5,1986 - Feb. 1,1987 American Landscapes and Trompe L'Oeil Still Lifes from the Collection April 15 -June 15,1987 Yellowstone National Park: The Oberlin Connection June 19-July 19,1987 Eighteenth-Century English Prints from the Collection

Ward Costume Room

Dec. 10,1985 -Jan. 12,1986 A Nineteenth-Century Oberlin Holiday May 20 - Aug. 31,1986 A Rustle of Silk: Material Splendor of the Victorian Era Oct. 10 - Dec. 7, 1986 The Dragon and the Pearl: Symbols in Chinese Decoration May 19-July 19,1987 Dressing the Part: Costumes from the Helen Ward Memorial Collection

Ellen Johnson Gallery

Nov. 26 - Dec. 1,1985 Ellen H. Johnson Birthday Exhibition Feb. 1 - 28,1987 In Recognition: Black History Month

Sculpture Court

Jan. 20 - March 31,1987 Samuel Yellin, Metalworker

102 Friends of the Museum

BENEFACTORS: contributions or bequests of S100.000 or more

•MARY A. AINSWORTH •R.T. MILLER,JR 'MR. AND "MRS JOSEPH BISSETT NATIONAL ENDOWMENT FOR THE ARTS •DONALD AND PHILIP DROLL OHIO ARTS COUNCIL MRS. JOHN A. HADDEN •CHARLES F. OLNEY •CHARLES M. HALL •MRS F. F. PRENTISS INSTITUTE OF MUSEUM SERVICES MR AND MRS JAMES ROEMER MAX KADE FOUNDATION •MRS GALEN ROUSH ELLEN H. JOHNSON •MRS CHAUNCEY B. SMYTHE •MRS. ANNA KONOFF JOHN N. STERN THE SAMUEL H. KRESS FOUNDATION PAUL F WALTER

PATRONS: contributions or bequests of 525,000 or more

DR. ALFRED R. BADER ROBERT M. LIGHT •GENEVIEVE BRANDT •SHERWOOD E MORAN ADELE H. BROWN ROBERT MORRIS BUCKEYE TRUST MR. AND MRS RAYMOND MOYER OLIVER J. AND EDA H. CALDWELL MRS JANE MURRAY PARKS AND CHRISTIE CAMPBELL •MRS. HARLAN NEWELL MRS. HELEN CHARASH MRS. ANNALEE NEWMAN JIM DINE MR AND MRS ERICT. NORD MR AND MRS ANDRE EMMERICH THE WALTER G. NORD FAMILY ESTATE OF SIR JACOB EPSTEIN CLAES OLDENBURG MR. AND MRS. LIONEL C EPSTEIN STANLEY POSTHORN •MRS. ELISABETH LOTTE FRANZOS •MR AND MRS HAIG M. PRINCE •CHARLES L. FREER ROBERT RAUSCHENBERG •MRS IRA FRENCH •AD REINHARDT ALLAN FRUMKIN MRS EDNA G. REIZENSTEIN •EUGENE GARBATY ERNEST H. ROBERTS MR AND MRS PETER GOODMAN MARCIA A. ROBERTS MARILYN W. GROUNDS PAUL ROSENBERG AND Co. GEORGE GUND FOUNDATION MRS AGNES G. SAALFIELD •MELVIN GUTMAN ALBERT SCAGLIONE IVAN B. HART NORBERT SCHIMMEL •MRS. A. AUGUSTUS HEALY MR AND MRS GUSTAVE SCHINDLER MARJORIE L. HOOVER •DONALD L. SIMPSON BARONESS RENE DE KERCHOVE FRANK STELLA MRS. KATHARINE KUH •MR AND #MRS CLARENCE WARD LLOYD H. LANGSTON HERBERT WARD •ROBERT LEHMAN •ANDY WARHOL ADELE R. LEVY FUND TOM WESSELMANN ROY LICHTENSTEIN •MR AND *MRS R. M. WOODBURY 'Deceased

103 DONORS: contributions or bequests of S5.000 or more

VITO ACCONCI •BERNARD GREBANIER DOROTHY HALL ALEXANDER DONALD C GRIFFIN MR AND MRS. DAVID ANDERSON WINSTON GUEST SIAH ARMAJANI THE HONORABLE MRS. M. D. GUINNESS MR. AND MRS PAUL B. ARNOLD DR. AND MRS GORDEN W. HASSE •FREDERICK B. ARTZ THOMAS M. HILL.JR WALTER BAREISS CHARLES B. HINMAN MRS. RAYMOND M. BARKER BUDD HOPKINS •JUDGE MADISON W. BEACOM MRS IRVIN E. HOUCK DR. AND MRS. H. STANLEY BENNETT WILL INSLEY MRS. DUDLEY BLOSSOM ROBERT IRWIN IRVING BLUM •DR. AND MRS. HAROLD JANTZ GARY BOWER JASPER JOHNS MRS. MARCELLA LOUIS BRENNER •HOMER H. JOHNSON MRS. ALBERT BROD PHILIP JOHNSON DR. FRANCES T. BROWN •RAY JOHNSON •JOHNJ. BURLING MR AND MRS ARTHUR R. JONES JOHN CHAMBERLAIN MR. AND MRS. OWEN T JONES CHRISTO DONJUDD MRS. ROGER A. CLAPP STEPHEN J. KALTENBACH MR. AND MRS H. HALL CLOVIS DR GEORGE KATZ JOHN COPLANS DRS. LOUIS AND ANNETTE KAUFMAN •LOUIS E. DANIELS MR. AND MRS RICHARD J. KENT THOMAS F. DERNBERG •MRS. J. AUSTIN KERR DR. R. C. DICKENMAN KLAUS KERTESS MRS. RUSSELL J. DONNELLY ADELINE KING ROSS EDMAN R. B. KITAJ ROBERT E. EISNER DAVID KLUGER MR. AND MRS. ARTHUR ERLANGER MR AND MRS THOMAS KLUTZNICK MRS. DONALD W. EVANS •JOHN S. KNIGHT RICHARD FEIGEN FRANCES T. KUEHN FENDRICK GALLERY •H.H.KUNG •FREDERICK NORTON FINNEY DOUGLAS H. LANGSTON DAN FLAVIN DR J. D. LANGSTON •MRS. THELMA CHRYSLER FOY MR AND MRS SHERMAN E. LEE •MRS. BERNICE CHRYSLER GARBISCH DR RICHARD W. LEVY CARL R. GERBER SOL LEWITT •J. PAUL GETTY MRS JOSEPH LILIENTHAL SAM GILLIAM PHILIP LILIENTHAL WlLLARD B. GOLOVIN •JACK LINSKY N. N. GOODMAN, JR •C.T. Loo MR AND MRS. STANLEY GOTTLIEB •DR A. I. LUDLOW BAYARD W. LYON

'Deceased

104 MR. AND MRS. LANDIS MACINTOSH •NATE B. SPINGOI.D ROBERT MANGOLD URSULA STECHOW MR. AND MRS. ROBERT MARKS •WOLFGANG STECHOW DR ELLIOT MARGLES EDWARD STEICHEN ESTATE •MRS. SEABURY MASTICK MR. AND MRS DAVID SURSA •MRS MALCOLM L. MCBRIDE •DR. AND 'MRS. BRUCE SWIFT •MRS. CHARLES W. MCCANDI.ESS MR. AND MRS HARRY L. TEPPER •MARY L. MCCI.URE MRS HELEN B. TOLLES ANN MCCOY MRS. ANN Ik YON KATHERINE MCCULLOUGH MORTON ROBERT W. VAIL AND *UEL PARSONS MCCULLOUGH W. R. VALENTINER ESTATE •MRS ANDREW B. MELDRUM EDWIN C VOGEL •MRS GERRISH MILLIKEN JEAN VOLKMER MRS MARTA ABBA MILLIKIN •ANNIE A. WAGER •MRS. CHARLES E. MONROE ANNA C WALTER ROBERT MOTHERWELL •LUCIENT. WARNER E.JAN NADELMAN •MR AND MRS ROBERT W. WHEELER BRUCE NAUMAN MRS FRED R. WHITE MRS. GEORGE OENSLAGER DAVID WHITNEY MRS HUGH D. PALLISTER •THORNTON WILDER •PARRISH WATSON AND CO. HANNAH WILKE JOHN G. D. PAUL MRS. WILSON M. WING •EDWARDS. PECK.JR •PETER YOUNG MR. AND MRS. WILLIAM R. PERLIK •MR. AND *MRS. JOHN YOUNG-HUNTER •LEONA PRASSE LAWRENCE AND CAROL ZICKLIN OSWALD D. REICH •RICHARD H. ZINSER •JOHN C. REID MR. AND MRS TESSIM ZORACH MRS B.J. REYNOLDS MR. AND *MRS GEORGE B. ROBERTS MRS. LAWRENCE ROSEN JAMES ROSENQUIST ALAN SARET MRS KATE SCHAEFFER MIRIAM SCHAPIRO THEODORE SCHEMPP MR AND MRS GEORGES SELIGMANN RICHARD SERRA MR. AND MRS. JOHN STEWART SERVICE: ALAN SHIELDS •A. AND *E. SILBERMAN HELENA SIMKHOVITCH OLIVER C SMITH •MRS. KATHERINE B. SPENCER

'Deceased

105 Oberlin Friends of Art 1986-87

Membership in the Oberlin Friends of Art is IN MEMORIAM MEMBERSHIPS an opportunity to support the programs and Arietta M. Abbott activities of the Allen Memorial Art Museum. Jacob Franklin Alderfer Beginning in 1987, membership in the Friends J. E. Artz of Art is open to individuals and families who Charles K. Barry contribute $25 or more ($10 for students and Genevieve Brandt E. Louise Brownback senior citizens). Annual participation as a Sus­ Mrs. Katherine L. Lewis Bushnell taining Fellow automatically grants member­ Howard H. Carter ship in the John Frederick Oberlin Society of Cyrus Alonzo Clark Oberlin College as well as in the Friends of Art. George Draper Coons Mrs. Maud Baird Coons Dorothy Daub In Memoriam memberships are given in Edith Dickson memory of an individual whose name is listed Mrs. Amelia Hegman DooMttle thereafter in the Bulletin. The Life Membership Sara W. Fisher category was discontinued for new subscribers in Helen Anderson Hamilton Antoinette Beard Harroun 1981. Irvin E. Houck Meinhard and Gertrud Jacoby New memberships and renewals at in­ Florence Jenney creased levels will help the Museum to match Dr. Louis C. Johnson challenge grants from the Nordson and Stocker Dr. Frances E. Killoren Foundations. Members are kept informed of all Mrs. Hazel B. King Donald Love Museum activities, have the opportunity to par­ Mary Smith McRae ticipate in special programs and events, and Doris Beebe Moore receive complimentary mailings. Fannie Bixler Murphy Mary and Samuel Nelkin Julia Patton Ira L. Porter Mrs. Ira L. Porter Annual Memberships Richard I. Ripin Beth Hertzler Shafer Member ------5 25 Chester L. Shaver Contributing Member - - - 50 Wolfgang Stechow Supporting Member - 100 Raymond H. Stetson Sponsor ------500 Henry Stanton Storrs Mrs. Henry Stanton Storrs 1,000 Sustaining Fellow - - - - Jessie Tazewell (includes membership in the Giovanni Terzano John Frederick Oberlin Society) Dr. and Mrs. Clarence Ward Student/Senior Citizen 10 Helen Ward Elva Johnson Weber Information about corporate memberships may be obtained from the Museum, (216) 775-8665. Membership contributions are tax-deductible to the extent allowed by law.

106 SUSTAINING FELLOWS Mrs. Kenneth A. Preston Lester F. Pross Mr. and Mrs. William K. Farquhar Lisa Wein Rabinowitz Peter and Barbara Goodman Lawrence and Dorah S. Rosen f Martha Hoffheimer Mr. and Mrs. Theodore Schempp Mrs. John W. Kurtz Betsy P. Schiff Joyce and Elliott Liskin Alice H. Simpson t Eric J. Nilson Mrs. Mandel C. Sprachman Mr. and Mrs. Kenneth A. Preston Paul F. Walter John N. Stern f James W. White Dr. and Mrs. Andrew G. Wilson Mr. and Mrs. Cecil T. Young CORPORATE BENEFACTOR

Ciba Corning Diagnostics Corporation CONTRIBUTING MEMBERS

SPONSORS Alice Aghajanian R. O. Blechman Mr. and Mrs. Parks Campbell Adele H. Brown Kathrine Christopherson Garth and Sally Dimon t Frank and Carrie DeCato Gilford Instruments Marian and Michael Dirda Ellen H. Johnson Nancy and Mark Edelman Margaret S. Kurtz Jane and Eric Nord Nancy Finke O.H.I.O. Mr. and Mrs. Donald Flierl Mr. and Mrs. Robert Venturi, Jr. Miss Doris L. Flierl f Mr. and Mrs. Dewey Ganzel t Kimberlie L. Gumz SUPPORTING MEMBERS Mr. and Mrs. W. H. Hamilton Michael J. and Palli Davis Holubar Helen K. Hoyer David and Ricky Clark Mrs. Robert R. Crawford t Michael Hyde Laurence B. Kanter Charles DeLimur William E. and Anna H. Kennick Mr. and Mrs. Richard Dunn f Mary Durling Charles B. and Ernestine E. King Clayton R. Koppes Ross Ed man t Margaret H. Leonard Andre Emmerich Dayton Livingston William P. and Nancy C. Fenstemacher Mr. and Mrs. Peter H. Flint J. Duncan and Nina Love Carl R. Gerber f Dr. and Mrs. Roldan G. Medina Richard A. Goldthwaite Harriet J. Mosher C. Clifton M. Page Erwin N. Griswold t Tom and Peg Piraino Laura Jackson Drs. George and Penny Jolly Anna Presti Mr. and Mrs. Owen T. Jones Professor and Mrs. Joseph R. Reichard Sarah Katz Alice Shaver Helen Tevlin Richard J. Kent Ms. Judith F. Kozlowski Carol and Robert Tufts Llewain Van Doren Joseph and Dorothy Luciano Dr. and Mrs. Don P. Van Dyke f John M. and Norine P. Morton Marilyn K. Wasem \JJfe Member Jeffrey Weidman *Deceased Andrea C. Willey

107 LIFE MEMBERS * Ben W. Lewis Robert M. Light Werner Abegg Ms. Anne H. Lisca Mrs. Marie N. Agee James M. Long Mr. and Mrs. David Anderson Laurel Coryell Lyon Mr. and Mrs. Paul B. Arnold Dr. and Mrs. Robert Magrill Mr. and Mrs. John S. Atkins Mrs. H. R. Marshall Mrs. Karl Aughenbaugh Stephen C. McGough Carl Bacon Anthony J. Mealy Dr. Alfred R. Bader Mrs. ElvinJ. Moore Richard D. Baron Mrs. Sherwood R. Moran Mrs. Charles T. (Libby) Murphy Mr. and *Mrs. Andrew Bongiorno Mrs. E. Earl Newsom Ms. Elaine B. Bye Charles Parkhurst Janet Knapp Byles John and Audrey Pearson Terry and Claudine Carlton William and Annabel S. Perlik Mrs. H. M. Casteel Carl A. and Thalia G. Peterson Mrs. Robert R. Crawford Mr. and Mrs. Kenneth A. Preston Garth and Sally Dimon Louise S. Richards Mr. and Mrs. Robert W. Dobbins Miss Derwent Riding Mr. and Mrs. Richard J. Dunn Dorah S. Rosen Ross Edman James Albert Saalfield Mrs. Barbara Meyer Elesh Miss Margaret Schauffler Lionel Epstein Janos Scholz Mrs. Sarah G. Epstein Norma and Samuel Feigenbaum Dr. and Mrs. Dale M. Schulz Mr. and Mrs. Milton L. Fisher Mrs. George H. Seefeld Miss Doris L. Flierl John and Caroline Service Philip E. Foster Mrs. Alfred W. Sherman Mr. and Mrs. Dewey Ganzel Miss Constance D. Sherman Loraine F. Gardner and Daniel L. Dolgin Miss Alice H. Simpson Carl R. Gerber Miss Geraldine N. Smith Mrs. Rebecca K. Gilford Mrs. Pierre R. Smith Mr. and Mrs. Samuel Goldberg Richard and Athena Spear Erwin N. Griswold Mrs. Ursula Stechow Jean Harris John N. Stern Ms. Jean Herbert Mr. and Mrs. Harry L. Tepper Tim Hill Prof, and Mrs. Franklin K. Toker Mrs. Joseph H. Hirshhorn Richard and Karen Trackler Miss Gladys A. Hoffman Dr. and Mrs. Don P. Van Dyke Mrs. Irvin E. Houck Mr. and Mrs. Robert Venturi, Jr. Mr. and Mrs. Richard Hunt Venturi, Rauch and Scott Brown Sharon W. Irwin Miss Jean Volkmer Ellen H. Johnson Paul F. Walter Mr. and Mrs. Owen T. Jones Mr. and Mrs. F. Champion Ward Robert Jordan Katharine J. Watson Philip L. Kelser Guy S. Wells Richard J. Kent Mrs. Robert W. Wheeler Charles B. and Ernestine E. King Forbes Whiteside Mr. and Mrs. C. W. Kinney, Jr. Ward Williamson Katharine Kuh Mr. and Mrs. Dudley Allen Wood Rensselaer W. Lee Barbara Wriston Winnie and Milton Yinger David Young

108 FAMILY MEMBERS INDIVIDUAL MEMBERS

Mr. and Mrs. E. D. Alyea, Jr. and Peter Alyea Kate E. Andrews Jeanne Bay and R. L. Aalto Mrs.G.W. Arthrell Mr. and Mrs. Smith Brittingham Walter Aschaffenburg Mr. and Mrs. C. A. Buell Richard C. Bailey Ellsworth and Florence Carlson Mrs. Dorothy Price Barnett Mr. and Mrs. William J. Chiego Miss Grace L. Beckett Juanita Jesse Christian Betty L. Beer Mr. and Mrs. James Cohan and Deborah Cohan Lizette Benzing Mr. and Mrs. Roger S. Cooper Mrs. Henriette Berger John and Ann Elder Jane Blodgett Mrs. Barbara M. Elesh f Mrs. Elizabeth H. Bunce Thomas M. Fabek Grace Peabody Burke Elizabeth and Stephen Foreman Ms. Hazel A. Burrows Naomi Barnett and Harvey Gittler Lawrence Butler Dora and Tony Grills Mrs. Robert E. Butler John and Susan Edwards Harvith Samuel Butnik Tadaaki and Susan Hatta Ms. Elaine B. Bye Mr. and Mrs. Nathan A. Haverstock Christine M. Campbell Ms. Mary Ann Hitt Susan Carlson Heather Hogan and Chris Nielson June Carrier Mr. and Mrs. James A. Houck Raymonde Carroll William V. and Bonnie Ivancic Gladys Champney Carter and Joanne Jastram Mr. and Mrs. William J. Chiego, Sr. Nicholas and Susan Jones Mrs. John Cochrane Robert and Alice Kroc Marcia Colish Mr. and Mrs. G. Kruszka Mary F. Colt Carol Lasser and Gary Kornblith Mrs. Lea Comings Ann and Al MacKay Mrs. Joan F. Cooper Barry and Barbara McGill Nancy Cooper Sheldon I. and Sarah J. Miller Barbara Kay Fisher Crumrine Mr. and Mrs. William A. Moffett Lisabeth Daly Dr. and Mrs. E. F. Muller Mary Ann Danenberg Mr. and Mrs. David Newman Mrs. Arthur Dann Mark and Barbara Richards Sarah M. Davidson Mr. and Mrs. Al Risser Joel Dean Rodney Schmidt Mrs. Stella Mallory Dtckerman Richard and Dina Schoonmaker Ronald L. Dzierbicki Judy and Warren Sheldon Becky Eastman Joseph Snider and Ann Fuller Mrs. Robert Fauver Mr. and Mrs. John R. Spencer Jean Giltner Fenton Charles and Jane Startup Nancy Stolberg Finke Mr. and Mrs. David Sursa Mr. and Mrs. Leslie H. Fishel, Jr. Conal Tepper David V. Foos Mr. and Mrs. Philip Vance Jeanne and Melvin Forsyth John and Eugenia Vanek Robert Geitz Mr. and Mrs. Robert Weinstock Josephine V. Gilbert Mr. and Mrs. H. Vernon Wheelock Jose R. Gonzalez-Maribona Ruth Graff Norman Scott Green Mrs. Morrell Heald Ms. Jean Herbert

109 Grace R. Holmes Victor J. Stone Mrs. John J. Hribar Phyllis Strayer Joel Isaacson Manette Swetland Mary Ellen Jackson Dr. Helen E. Tevlin Catherine Jarjisian Sharon Tucker Robert D.Jenkins Susanne Udell Wallace T. Johnson Dolph J. Vanderpol Mrs. Lottie A. Jurasek Mrs. Jo Hamilton Van Meter t Alex Kalapis Andre Ven Tresca E. Kaye Kaminski P. Philip Wales Marion Bradley Kelly Rita H. Waltz Mrs. Charles J. Krister Gloria Stoloff Werner Daniel J. Kroesen Eleanor West Marjorie H. Kropp Mrs. Eleanor H. Whitehead Mrs. Judith E. Kurzban Nellie Whiteside Robert E. Lair Reid Wood George H. Langeler Helen A. Young Mrs. George A. Lanyi Bernice O. Zelditch Mr. and Mrs. Sherman Lee M.J. Lewis STUDENT MEMBERS Betty M. Long Richard P. Lothrop Paul G. Anderson David Lowe Jeff Andrick Beth C. McBnde Michael Angell Anne C. Margrett Brian Anton John P. Mayer Alexandra Baele Mrs. Amy Mcllroy Marzieh Joy Benson A. J. McQueen John D. Benton Thelma K. Miller Lisa Beskin Richard A. Moro Ethan T. Bodin Mr. and Mrs. C. L. Muhlert Maria Bowling Janet Simon Murinson Anthony Bradfield Frances S. Myers Annette Bridges Mrs. Ralph Nichols Elaine H. Broad Pauline Phipps Michael Broido James E. Pohlman Michael H. M. Brown Constance M. Price David Burke Mrs. Paul Rainey Sarah Butler Marjorie J. Rehark William C. Casteel Diana Roose Sheri Cohen Pauline M. Ruby Michelle Deussen Miss Margaret Schauffler Eric Dochinger Deborah I- mom Scott John R. Elmore, Jr. Ellen E. Endslow Ruth Searles Jordan Fuchs Mrs. A. Edward Shaw Abigail Gross Elizabeth Shepherd Victor G. Katz Dorothy R. Shibley Gary Lainer Elena Sokol Walter J. Lee Kathryn Spencer Theodore M. Levin Elizabeth Spurlock Donald A. McColl Dorothy H. Squire Amanda Kate McEvoy Dr. and Mrs. James T. Stephens Jill M. Medina Geraldine Stewart Elizabeth Anne Moore

no Cara Palladino greater world. The committee will advise the Russell Piatt Museum on every phase of its operation. The Stephen Porter Karen Rawitscher following seventeen individuals, representing a Todd Reeser wide range of experience and knowledge in the Sara Rosenfeld visual arts and the life of art institutions, have Helana G. Rowlands agreed to serve four-year, renewable terms: Daniel F. Ruiz Ruth Sample Andre Emmerich (Oberlin College, B.A., 1944) David Schast Allan Frumkin Joel Seltzer Judith Hernstadt Gretel E. Smith Richard Hunt Mark W. Smith Jennifer H. Stahl Katharine Kuh Tom Steele Richard W. Levy Natalia Taylor Robert M. Light (Oberlin College, B.A., 1950) Arlene Tibayan William H. Luers Jonathan Tillquist Robert B. Menschel Katharine Wallerstein Jan Keene Muhlert (Oberlin College, M.A., 1967) Gwenn Weiner Victoire Rankin Bob Weisbord Angelica Zander Rudenstein Lisa R. Whitfield Reynold Sachs (Oberlin College, B.A., 1961) Perry Andrew Whitthorne Heinz Schneider Sarah Jane Williams John N. Stern, Chairman (OberlinCollege, B.A., 1939; Leslie Woodside College Trustee) Evan H. Turner IN MEMORY OF FORREST MACK Nancy Coe Wixom (Oberlin College, M.A., 1955) Paul B. and Sally Arnold Theodore Schempp, Honorary Member (Oberlin Michael J. and Palli Davis Holubar College, B.A., 1926) Marion Bradley Kelly John M. and Norine P. Morton Collection Committee Dr. E. F. and Florence H. Muller Philip and Jeannette M. Vance This second new committee was also formed in Don P. and Mary Louise Van Dyke early 1987 as an independent review committee with the mission of advising the director and the IN MEMORY OF JOHN W. KURTZ curatorial staff on proposed purchases and on

Mrs. John W. Kurtz policies for accessions and deaccessions. The Margaret S. Kurtz members represent a broad range and consider­ able depth of museum experience as well as a IN MEMORY OF DOROTHY DAUB specific knowledge of the Museum and of Ober­ lin College. The following individuals have Ellen H. Johnson agreed to serve four-year, renewable terms: Henry H. Hawley Visiting Committee John H. Neff The first Visiting Committee for the Allen Alfred MacKay (Dean, College of Arts and Sciences) Louise S. Richards (Oberlin College, M.A., 1944) Memorial Art Museum was formed in early 1987 John N. Stern (Oberlin College, B.A., 1939; College with the mission of building personal and pro­ Trustee) fessional links between the Museum and the Allen Wardwell

111 Museum Staff (as of December 1,1987) Publications William J. Chiego, Director Allen Memorial Art Museum Bulletin, vols. I-XLII, 1944- Beatrice M. Clapp, Administrative Secretary 1986. Some issues out of print. Indexes available Susan Edwards Harvith, Membership and Special through vol. XXX at S1.00 each. Events Administrator Painting and Sculpture Acquisitions 1966-1969 (Bulletin, Larry J. Feinberg, Chief Curator vol. XXVII, no. 2), 24 illus., $2.00. (vacant), Curator of Modern Art Ellen H. Johnson, Honorary Curator of Modern Art Catalogue of Islamic Carpets (Bulletin, vol. XXXVI, no. 1), Kimberlie L. Gumz, Registrar $8.00 Renee Ater-Roberts, Intern/Assistant to the Registrar Catalogue of European and American Paintings and Sculp­ Jeannette Lawson, Acting Coordinator of Educational ture, 1967, 359 pp., 278 illus., $3.50. Programs Catalogue of Drawings and Watercolors, 1976,295 pp., 303 Michael Holubar, Technician-Preparator illus., $12.50. Scott Carpenter, Intern/Assistant to the Technician- Japanese Woodblock Prints: A Catalogue of the Mary A. Preparator Ainsworth Collection, 1984,272 pp., 576 illus., includ­ Elsie E. Phillips, Custodian ing 35 color plates, S65.00 Donald A. McColl, Graduate Assistant Marjorie L. McCreedy, Museum Security Supervisor Also available from the Museum are photographs, post­ Mark K. Hoyt, Museum Security Officer cards, notecards, numerous exhibition catalogues, and slides Laura L. Wolf, Museum Security Officer of works in the collection. La Dederia Cross, Museum Security Officer Richard W Grassnig, Museum Security Officer Editors of the Bulletin William J. Chiego, Larry J. Feinberg Museum Hours Tuesday, Wednesday, Friday 11-5 Thursday 11-8 Saturday and Sunday 1-5 Closed Monday and Major Holidays

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